{"id":12006,"date":"2023-09-24T14:45:16","date_gmt":"2023-09-24T07:45:16","guid":{"rendered":"https:\/\/arkipel.org\/?p=12006"},"modified":"2023-09-24T17:52:38","modified_gmt":"2023-09-24T10:52:38","slug":"nmt-ic4-2","status":"publish","type":"post","link":"https:\/\/arkipel.org\/nmt-ic4-2\/","title":{"rendered":"Noli Me Tangere – International Competition 4"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1695532895167{margin-bottom: 0px !important;}”]\n

Mata, Kota, dan Penyair
\nEyes, City, and Poet<\/span><\/em><\/b><\/h1>\n

Host<\/em> Wahyu Budiman Dasta<\/strong><\/p>\n

29 September 2023 \u2013 14.00<\/p>\n[\/vc_column_text][vc_empty_space][vc_tta_tabs style=”flat” shape=”square” active_section=”1″ no_fill_content_area=”true”][vc_tta_section title=”Pengantar” tab_id=”1695524701952-c3e2aa6f-b8b7″][vc_column_text css=”.vc_custom_1695532712651{margin-bottom: 0px !important;}”]Mata warga yang telah tinggal lama di suatu lokasi, secara sadar dapat membingkai sebuah cerita dari masa lalunya. Cerita yang diawali oleh kerja sensorik mata, kemudian diolah melalui sentuhan daya khayal, mampu mewakili pengalaman kontak fisik yang sebenarnya. Keberadaan mata dalam konteks subjek dan objek yang membingkai cerita, akan terus berkembang menjadi komposisi yang menarik untuk bisa memahami konsep perspektif mata warga.<\/span><\/p>\n

Seorang perekam bisa mewakili mata warga. Sang perekam menggambarkan kedekatan antara objek dan subjek melalui bingkaian gambar. Itu bisa dilihat oleh penonton sebagai hal yang puitis. Si perekam bisa mengikuti jejak-jejak masa lalu, mencoba untuk memahami cerita yang tersembunyi di balik sebuah lokasi. Ia bukan hanya mendokumentasikan secara visual, tetapi juga membingkai pengalaman artistik dari warisan sejarah lokasinya. Selayaknya seorang pengarang cerita yang menyusun kata-kata sebagai alat utama untuk menciptakan sebuah karya.\u00a0<\/span><\/p>\n

Dalam proses kepengarangan, sang pengarang memfokuskan perhatiannya pada detail-detail terkecil atau bagian-bagian objek ambilannya. Ia memposisikan diri dengan jarak terdekat dengan lensa untuk dapat mengungkapkan tekstur, pola, atau fitur yang mungkin terabaikan ketika melihat dari jarak jauh. Filem-filem yang ada di dalam kuratorial ini, memperlihatkan pengubahan perspektif dari penglihatan secara umum menjadi penglihatan subjektif tentang sebuah lokasi.<\/span><\/p>\n

Perlahan-lahan sutradara sebagai sang pengarang mengubah perspektifnya dan memberikan pandangan yang lebih luas dari objek ambilannya untuk menunjukkan cara para pandangnya terhadap lokasi: menjauhkan posisi dari objek ambilan. Sudut pandang meluas, detail objek yang material mengecil. lanskap menjadi lebih jelas, lalu mendekat kembali untuk ke posisi awal untuk menciptakan narasi subjektifnya sebagai pengarang. Aksi tersebut dilakukan secara berulang sampai akhirnya sang pengarang menemukan bahasa baru yang tersembunyi di dalam susunan gambar-per-gambarnya.<\/span><\/p>\n

Objek dan subjek menjadi padu. Filem <\/span>Ritual, Belahan IV-Bauran <\/span><\/i>yang disutradarai Robby Ocktavian, memahami bahwa objek dan subjek dapat menjadi padu sebagai jejak dalam aksi merekam sebuah kota. Jejak tersebut ditandai dengan narasi yang menceritakan lokasi dulu dan sekarang.\u00a0<\/span><\/p>\n

Dalam suatu kota, aksi menyaksikan bahwa konstruksi bangunan, baik gedung maupun struktur lainnya, semakin tidak sejajar. Kondisi fisik bangunan-bangunan yang direkam secara miring, tidak hanya menciptakan masalah estetika, tetapi juga dapat menimbulkan kekhawatiran atas masalah keselamatan pada pola sosial yang terus bergerak dan berkembang. Objek, sebagai materi atau konsep yang menjadi fokus dalam filem, sementara subjek adalah pikiran, emosi, dan pandangan sang pengarang, menjadi aktivitas yang melibatkan kombinasi antara mendengarkan dengan teliti suara-suara yang terdengar dalam pengamatan struktur atau pola yang ada di sekitar kita. Sang pengarang kembali menjadi warga, yang memiliki puisi subjektif tentang kota.\u00a0<\/span><\/p>\n

Citra-citra sarang laba-laba di interior gedung-gedung tak berpenghuni, dikonstruksi menjadi transisi yang puitik ke bingkaian utama tentang pencarian jejak sejarah lokasi. Sementara itu, narasi sejarah tentang kota memiliki berbagai interpretasi. Beberapa narasi tersebut bahkan mungkin memilih untuk mengabaikan aspek-aspek yang penting. Hal ini menciptakan lapisan-lapisan kompleks dalam pemahaman tentang kota tersebut, menggambarkan bahwa sejarah dan arsitektur kota dapat menjadi jendela yang mengungkapkan keragaman dan tantangan yang ada dalam pengenalan sebuah lokasi.<\/span><\/p>\n

Perekaman juga merupakan sebuah pengintaian. Filem <\/span>Hollow<\/span><\/i> yang disutradarai oleh Mohamadreza Farzad, banyak menampilkan ambilan dari dalam interior ke luar, untuk merekam aktivitas di luar, atau dari luar ke jendela-jendela yang diisi oleh kehidupan sosial orang-orang.\u00a0<\/span><\/p>\n

Sebuah puisi yang baik mampu menghadirkan citra dan gambaran yang kuat. Aksi membuat puisi dengan cara melakukan pengintaian dari luar ke dalam dan sebaliknya, menciptakan kontras yang mencolok tentang perpindahan lokasi perekaman. Perpindahan itu secara halus memperlihatkan pemetaan lokasi, yang berujung pada wajah-wajah dari masa lalu dalam fotografi.\u00a0<\/span><\/p>\n

Dalam kata-kata yang terpilih, sang pengarang mampu membawa penonton ke dalam pengalaman ruang, membuat penonton merasa seolah-olah berada di dalam ruang tersebut. Pertanyaan yang muncul adalah, apakah foto-foto itu berelasi dengan sejarah kota yang sejati atau hanya fragmen dari kenangan yang kabur?<\/span><\/p>\n

Seperti foto-foto dari masa lalu, sebuah filem telah dibuat dan masuk ke dalam konsep keabadian. Karya si pengarang telah mewujud sebagai materi. Kota yang menjadi penghubung masa lalu dan masa kini bisa digambarkan sebagai bangunan usang. Ini adalah penggambaran friksi perubahan sosial dalam kota tersebut, yang mungkin juga tercermin dalam perubahan sudut pandang mata sang pengarang. Mata akan terus merekam, tidak hanya mencari cerita-cerita yang biasa, tetapi juga mencoba untuk memahami lapisan-lapisan yang lebih dalam dari sebuah lokasi. Warga akan terus membuat cerita yang mungkin sudah terlupakan atau kurang dikenal, mengungkapkan makna yang lebih dalam dari apa yang tampak di permukaan. Sampai saat meninggal, seorang pengarang akan selalu diwarnai perubahan zaman yang sulit diprediksi, meskipun ia bermain di dalam konsep keabadian.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”Forewords” tab_id=”1695524701968-544f6ee4-7b25″][vc_column_text css=”.vc_custom_1695532739490{margin-bottom: 0px !important;}”]The eyes of people who have lived in a location for a long time can consciously frame a story from their past. Stories that are initiated by the sensory work of the eyes, then processed through a touch of imagination, are able to represent actual physical contact experiences. The existence of the eyes in the context of subjects and objects that frame the story, will continue to develop into an interesting composition to be able to understand the concept of the perspective of the eyes of residents.<\/span><\/p>\n

A recordist can represent the eyes of the people. The recordist depicts the closeness between the object and the subject through the framing of the image. It can be seen by the audience as poetic. The recordist can follow the traces of the past, trying to understand the story hidden behind a location. He or she not only visually documents, but also frames the artistic experience of the historical heritage of the location. Like a storyteller who composes words as the main tool to create a work.<\/span><\/p>\n

In the process of authorship, the author focuses his attention on the smallest details or parts of the object of their capture. They position themselves closest to the lens to reveal textures, patterns, or features that might be ignored when looking from a distance. The films in this curatorial show a shift in perspective from a generalized view to a subjective view of a location.<\/span><\/p>\n

Slowly the director as the author changes their perspective and gives a wider view of the capture object to show how they view the location: distances the position from the capture object. The perspective expands, the details of the material object shrink, the landscape becomes clearer, and then comes closer to the starting position to create their subjective narrative as the author. The action is repeated until the author finally finds a new language hidden in the image-by-image arrangement.<\/span><\/p>\n

Object and subject become one. The film <\/span>Ritual, Belahan IV-Bauran<\/span><\/i>, directed by Robby Ocktavian, understands that objects and subjects can become solid as traces in the act of recording a city. The trace is marked by a narration that tells the location then and now.\u00a0<\/span><\/p>\n

In a city, the action witnesses that the construction of buildings and other structures are increasingly out of alignment. The physical condition of the buildings, recorded at an oblique angle, not only creates aesthetic problems, but can also raise concerns over safety issues in a social pattern that is constantly moving and evolving. The object, as the material or concept that becomes the focus of the film, while the subject is the author’s thoughts, emotions and views, becomes an activity that involves a combination of listening carefully to the voices heard in the observation of structures or patterns around us. The author again becomes a citizen, who has a subjective poetry about the city.\u00a0<\/span><\/p>\n

The images of cobwebs in the interiors of uninhabited buildings are constructed into a poetic transition to the mainframe about the search for traces of the location’s history. Meanwhile, historical narratives about the city have various interpretations. Some of these narratives may even choose to ignore important aspects. This creates complex layers in the understanding of the city, illustrating that the history and architecture of a city can be a window that reveals the diversity and challenges involved in recognizing a location.<\/span><\/p>\n

Recording is also a surveillance. The film <\/span>Hollow<\/span><\/i>, directed by Mohamadreza Farzad, features many shots from inside the interior to outside, to record the activities outside, or from outside to the windows filled with people’s social lives.<\/span><\/p>\n

A good poem is capable of presenting strong images and pictures. The act of making a poem by doing a reconnaissance from outside to inside and vice versa creates a stark contrast of shifting recording locations. The shifting subtly reveals the mapping of locations, which leads to the faces of the past in photography.\u00a0<\/span><\/p>\n

In the words chosen, the author is able to bring the viewer into the experience of the space, making the viewer feel as if they are in the space. The question that arises is, do the photographs relate to the true history of the city or are they just fragments of hazy memories?<\/span><\/p>\n

Like photographs from the past, a film has been made and entered into the concept of eternity. The author’s work has materialized. The city that connects the past and the present can be depicted as a worn-out building. This is a depiction of the friction of social change in the city, which may also be reflected in the changing perspective of the author’s eyes. The eye will continue to record, not only looking for the usual stories, but also trying to understand the deeper layers of a location. Citizens will continue to create stories that may have been forgotten or lesser known, revealing deeper meanings than what appears on the surface. Until the moment of death, an author will always be colored by the unpredictable changes of the times, even though they play on the concept of immortality.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Film List” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11886″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695534472386{margin-bottom: 0px !important;}”]\n

Ritual, Belahan IV: Bauran
\nRitual, Part IV: The Blends<\/span><\/h2>\n

Filmmaker <\/em>Robby Ocktavian
\n<\/strong>Country of Production<\/em> Indonesia
\n<\/strong>Language<\/em> Indonesia
\n<\/strong>Subtitle<\/em> \u00a0English<\/strong><\/p>\n

40 min, Stereo, Color,\u00a0 2022<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695534499272{margin-bottom: 0px !important;}”]Menapaki jejak ruang kota melibatkan pemahaman terhadap berbagai elemen yang mempengaruhi perkembangan kota. Salah satu permasalahan kota yang tidak dapat dipisahkan adalah adanya daya tarik bagi pendatang dari berbagai bidang. Arus sungai, yang telah menjadi bagian sejarah panjang kota, membawa bersama segala polemik terkait perkembangan kota tersebut.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695534511220{margin-bottom: 0px !important;}”]Tracing the footsteps of urban space involves understanding the various elements that influence urban development. One of the inseparable problems of cities is the attraction of migrants from various fields. The river, which has been a part of the city’s long history, brings with it all the polemics related to the city’s development.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532969190418-0b77954e-9992″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9699″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695534593329{margin-bottom: 0px !important;}”]Robby Ocktavian, seniman dan pengorganisir seni kelahiran Samarinda, berkarya di bidang film, seni suara, dan seni pertunjukan. Ia sering memutar film di kota Samarinda bersama Sindikat Sinema, kolektif yang ia dirikan. Lulus dari Universitas Mulawarman di Samarinda, ia juga belajar produksi visual di Milisifilem. Saat ini, ia menjadi direktur Yayasan Muara Kreasi Merdeka yang mengadakan MUARASUARA-Sound Art Festival dan Neladeva Film Festival di Samarinda.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695534612351{margin-bottom: 0px !important;}”]Robby Ocktavian, a Samarinda-born artist and arts organizer, works in film, sound and performance art. He often screens films in Samarinda with Sindikat Sinema, a collective he founded. Graduated from Mulawarman University in Samarinda, he also studied visual production at Milisifilem. Currently, he is the director of Muara Kreasi Merdeka Foundation which organizes MUARASUARA-Sound Art Festival and Neladeva Film Festival in Samarinda.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1695539613481-2b47bbe8-f398″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12017″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695540992070{margin-bottom: 0px !important;}”]\n

Hollow<\/b><\/h2>\n

Filmmaker <\/em>Mohamadreza Farzad<\/strong>
\n<\/strong>Country of Production<\/em> Germany, France, Iran
\n<\/strong>Language<\/em> No Dialogue<\/em>
\n<\/strong>Subtitle<\/em> \u00a0–<\/strong><\/p>\n

16 min, Stereo, Color,\u00a0 2023<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695541026860{margin-bottom: 0px !important;}”]Ketika arsitektur ruang dirancang dengan memperhatikan aspek sosial, budaya, dan kemanusiaan, ia dapat menjadi lebih dari sekadar struktur fisik. Bangunan dan ruang tersebut dapat menjadi wadah untuk ekspresi seni dan kreativitas, serta tempat untuk interaksi sosial dan pertukaran ide. Dalam hal ini, puisi merujuk pada keindahan dan makna yang terkandung dalam gambar-gambar tersebut, dan dapat menjadi cara untuk menggambarkan cerita-cerita tentang masyarakat dan kehidupan sehari-hari.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695541045515{margin-bottom: 0px !important;}”]When architectural spaces are designed with social, cultural and humanitarian aspects in mind, they can become more than just physical structures. Such buildings and spaces can become a platform for artistic expression and creativity, as well as a place for social interaction and the exchange of ideas. In this case, poetry refers to the beauty and meaning contained in the images, and can be a way to depict stories about society and everyday life.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1695539613628-be392b76-3fa3″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12018″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695541216482{margin-bottom: 0px !important;}”]Mohammadreza Farzad (1978, Iran). Ia memulai kariernya sebagai penyair dan penerjemah sastra. Kariernya sebagai pembuat film dokumenter dimulai dengan “Into Thin Air” (2011) dan “Blames and Flames” (2012). Kedua film pendek tersebut tayang perdana di Berlinale Forum Expanded dan diputar antara lain di Sheffield Doc\/Fest, Moscow IFF, CPH:DOX, Hot Springs IFF, Oberhausen, Ji.hlava IDFF, Jeonju IFF, Molodist, dan Walker Art Centre.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695541237559{margin-bottom: 0px !important;}”]Mohammadreza Farzad (1978, Iran). He started his career as a poet and literary translator. His career as a documentary filmmaker started with “Into Thin Air” (2011) and “Blames and Flames” (2012). Both short films premiered at Berlinale Forum Expanded and screened, among others, at Sheffield Doc\/Fest, Moscow IFF, CPH:DOX, Hot Springs IFF, Oberhausen, Ji.hlava IDFF, Jeonju IFF, Molodist, and Walker Art Centre.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12073″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695550354561{margin-bottom: 0px !important;}”]Wahyu Budiman Dasta<\/b><\/p>\n

Wahyu Budiman Dasta (Jakarta, 2 Januari 1992), biasa dipanggil Walay, adalah seorang seniman, sutradara, peneliti arsip, dan art handler yang saat ini tinggal dan bekerja di Jakarta. Salah satu anggota Forum Lenteng. Di organisasi tersebut, ia bertanggung jawab untuk divisi produksi, dan juga menjadi tim pengarsipan untuk program visual jalanan. Ia juga terlibat sebagai <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695550377525{margin-bottom: 0px !important;}”]Wahyu Budiman Dasta<\/b><\/p>\n

Wahyu Budiman Dasta (Jakarta, 1992), known as Walay, is an artist, director, archive researcher, and art handler who currently lives and works in Jakarta. He is a member of Forum Lenteng. In the organisation, he is responsible for the Production Division and also serves as an archiving team member for the Visual Jalanan program. He is also actively involved as a primary participant in the Milisifilem Collective platform and the 69 Performance Club, both initiated by the same organisation.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

A subtle disruption to the system arises from the daily lives of people on the “periphery”, as reflected in two curated films here. Even though they do not fully agitate the dominating authorities, the “divergent model” of work, and the behaviour or response that belong to the marginalised people (outside the system) keep alive the criticism of social and economic determinants. That is perhaps the one of bromocorah’s existential trait in the society.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[654,344],"tags":[192,656,655],"jetpack_publicize_connections":[],"yoast_head":"\nNoli Me Tangere - International Competition 4 — ARKIPEL<\/title>\n<meta name=\"description\" content=\"From these two bodies of water that contain the heartbeat of civilization since prehistoric times, the filmmakers become archaeologists who excavate daily life in (physical and digital) locations and find pieces that unravel the continuity of history, be it in the form of humming or statues buried deep underground, Mini DV, celluloid and a computer\u2019s recycle bin. Arranging these minuscule pieces into a chronicle which stimulates the perception of a long period. 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