{"id":12011,"date":"2023-09-24T14:35:28","date_gmt":"2023-09-24T07:35:28","guid":{"rendered":"https:\/\/arkipel.org\/?p=12011"},"modified":"2023-09-24T14:35:28","modified_gmt":"2023-09-24T07:35:28","slug":"nmt-ic10","status":"publish","type":"post","link":"https:\/\/arkipel.org\/nmt-ic10\/","title":{"rendered":"Noli Me Tangere – International Competition 10"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1695538985131{margin-bottom: 0px !important;}”]\n

Ruang Kosong dan Kepenuhan
\nEmpty Space and Fullness<\/span><\/em><\/b><\/h1>\n

Host<\/em> Akbar Yumni<\/strong><\/p>\n

25 September 2023 \u2013 19.00<\/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_1695539054489{margin-bottom: 0px !important;}”]Dalam perkembangannya, masyarakat hari ini memiliki kecenderungan yang lebih performatif. Fenomena media sosial turut menggerakkan dan digerakkan oleh masyarakat sebagai satu kesatuan yang membentuk keseharian masyarakat dalam mengkonstruksi realitas di sekitar mereka. Kenyataan media atau kenyataan yang sudah termediasi telah turut membentuk realitas keseharian masyarakat ini, yang daya aksesnya juga menggerakkan (memperformakan) tubuh-tubuh para individu masyarakat dalam mengakses dunia simulakrum realitas. Menggerakkan dan digerakkan menjadi satu keserentakan dalam mengkonstruksi dan dikonstruksi realitas masyarakat hari ini.\u00a0<\/span><\/p>\n

Dalam filem <\/span>Ghost Light<\/span><\/i>, realitas media itu coba diurai, mana gerak dan suara yang pada dasarnya juga keserentakan yang dimungkinkan. Dokumenter <\/span>performance<\/span><\/i> dalam konteks ini sebagaimana memandang medium filem sebagai seni umumnya, di mana medium bisa digunakan untuk sebuah eksperimentasi praktik artistik lintas disiplin. Filem <\/span>Ghost Light<\/span><\/i> berangkat dari sebuah pertunjukan, yang kemudian diintervensi melalui sebuah <\/span>performance<\/span><\/i> suara untuk melihat kemungkinan-kemungkinan <\/span>performance<\/span><\/i> yang dimungkinkan dalam praktik artistik melalui medium filem.\u00a0<\/span><\/p>\n

Walter Benjamin menganggap bahwa filem sebagai seni reproduktif juga membawa kecenderungan analitik, seperti analitik tubuh oleh para dokter yang dimediasi oleh alat pembesar dalam mendedah tubuh. Tubuh mengalami pembesaran yang dimediasi oleh alat pembesar, sehingga membentuk tubuh yang termediasi dan yang cenderung dianalisis. Hal ini pula yang berlangsung pada media filem, di mana tangkapan realitas bukan sebuah tangkapan langsung namun dimediasi oleh kamera yang menjadikan realitas filem adalah realitas reproduksi. Kecenderungan analitik tersebut tampak pada filem <\/span>Ghost Light<\/span><\/i> yang membangun dua layar dalam satu bingkai untuk membangun ketegangan dan keserentakan antara gerak dan suara. Pada layar pertama semacam intervensi suara ke dalam layar kedua dalam gerak <\/span>performance<\/span><\/i>, di mana pada layar pertama juga memilah dan menganalisis gerak untuk kemudian diintervensi oleh layar pertama.\u00a0<\/span><\/p>\n

Dalam perkembangan sinema digital, filem menjadi medium seni yang menghubungkan praktik artistik lintas disiplin. Seperti juga pembesaran, pengecilan dan seterusnya, sampai juga membuat dan membangun pembingkaian-pembingkaian yang kecenderungan analitiknya semakin kompleks dan luas. Menggunakan medium filem sebagai praktik lintas disiplin sendiri adalah usaha menjangkau kompleksitas dan perluasan isu artistik sebagaimana pantulan kompleksitas isu sosial masyarakat kita hari ini. Kompleksitas tersebut juga mengandaikan usaha membangun kemungkinan-kemungkinan sinematik pada medium filem, termasuk menganggap bingkai filem adalah kanvas atau ruang putih yang siap diisi oleh medium dan elemen artistik seni apa pun. Mengisi dan memperluas bingkai filem ini, sebagaimana kelahiran kanvas putih dan ruang putih (galeri), sebagai postulat seni modern yang juga tidak luput dari semangat mengisi ruang kosong. Demikian pula pada pandangan teologi modern yang mengandaikan penciptaan berasal dari ruang kosong. Kecenderungan ini bisa kita hubungkan dengan hasrat akan <\/span>horror vacui <\/span><\/i>dalam seni, hasrat selalu mengisi kekosongan yang dalam perspektif tertentu adalah ketakutan dan kebencian akan ruang kosong. Seni-seni ornamental dan dekoratif adalah salah satu bagaimana hasrat untuk memenuhi ruang kosong, baik sebagai penghormatan terhadap objek dan subjek yang dibangun.\u00a0<\/span><\/p>\n

Sinema sendiri keniscayaan terhadap kepenuhan ruang, ketika ia menangkap ruang kosong, keniscayaan bingkai, komposisi, warna, sensori dan seterusnya, juga tidak terelakkan sebagai anasir yang melekat pada <\/span>image<\/span><\/i>. Plenisme (kepenuhan) sebagaimana pada filem <\/span>Horror Vacui<\/span><\/i>, bisa kita lihat pada adegan pertama di mana <\/span>image<\/span><\/i> hamparan lautan sendiri, menghadirkan kemampuan kamera menangkap sensori dari gerak sensori visual air dan udara dari pantulan semacam antara suhu panas atau tangkapan <\/span>image<\/span><\/i> dari kamera dalam tangkapan terjauhnya yang memperlihatkan tegangan antara ketidakkokohan resolusi gambar atau kemudian efek optik dari panasnya suhu sebuah bentangan lautan. Demikian pula pada bidikan terakhir, plenisme merupakan bentangan jalan yang kosong, melintas objek kecil yang bergerak. Filem <\/span>Horror Vacui<\/span><\/i> merupakan lanskap-lanskap sosial yang turut dibentuk oleh militerisme, yang di dalamnya membentuk komposisi juga menyebar di dalam keseharian masyarakat.\u00a0<\/span><\/p>\n

Kepadatan tersebut juga bukan sekedar soal ruang, setidaknya pengertian ruang yang lebih luas. Demikian pula dengan ruang simulakrum, yang bukan sesuatu yang ajek, namun juga terus-menerus semakin memadat dari sekian produksi visual\u00a0 yang juga membentuk peta baru sebagai panduan dalam melihat realitas hari ini dan realitas di masa lalu. Dalam pandangan Hans Gadamer tentang sejarah yang selalu terbuka karena membaca sejarah adalah juga dalam situasi sejarah, seperti kesenangan para punctum<\/i> yang memilih visual mana yang mereka ingin impresikan. Film R21 aka Restoring Solidarity<\/i> sendiri semacam pembacaan ulang atas gambar Palestina di masa lalu. Entah temuan gambar sendiri menyiratkan sesuatu yang \u2018baru\u2019 tentang hubungan Palestina dan Jepang, namun pemilihan visualnya sendiri juga sebagai pengalaman punctum<\/i>, untuk mencoba keluar dari narasi lama sebagai usaha mendapatkan simpati. Tidak heran temuan-temuan visual baru juga secara tidak langsung selalu juga mengubah konstelasi simulakrum, yang secara serentak juga mengubah peta rujukan dalam memandang realitas di masa lalu. Sebagaimana perjuangan pembebasan Palestina yang masih belum berakhir, temuan, memilah, menjukstaposisikan ulang visual adalah bagian dari penarasian ulang untuk mencapai solidaritas baru.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”Forewords” tab_id=”1695524701968-544f6ee4-7b25″][vc_column_text css=”.vc_custom_1695539083454{margin-bottom: 0px !important;}”]In its development, today’s society has a more performative tendency. The phenomenon of social media also moves and is moved by the community as a unit that shapes people’s daily lives in constructing the reality around them. Media reality or mediated reality has helped shape the daily reality of this society, whose access power also moves (performs) the bodies of individual people in accessing the world of simulacrum which is also reality. Moving and being moved become one simultaneity in constructing and being constructed by the reality of today’s society.\u00a0<\/span><\/p>\n

In <\/span>Ghost Light<\/span><\/i>, the reality of media is attempted to be unraveled, where motion and sound are basically also possible to be simultaneous. Documentary performance in this context is like looking at the medium of film as art in general, where this medium can be used for an experimentation of cross-disciplinary artistic practices. <\/span>Ghost Light<\/span><\/i> departs from a performance that is then intervened through sound performance to see the possibilities of performance that are possible in artistic practice through the medium of film.\u00a0<\/span><\/p>\n

Walter Benjamin believes that film as a reproductive art also carries analytic tendencies, similar to the analytics of the body by doctors who are mediated by magnifying devices in examining the body. The body is enlarged mediated by a magnifying device, thus forming a mediated body that tends to be analyzed. This is also what happens in film media, where the capture of reality is not a direct capture but mediated by the camera, which makes the reality of film a reproductive reality. The analytic tendency can be seen in <\/span>Ghost Light<\/span><\/i>, which builds two screens in one frame to build tension and simultaneity between motion and sound. The first screen is a kind of sound intervention into the second screen in motion performance, where the first screen also sorts and analyzes the motion to be intervened by the first screen.<\/span><\/p>\n

In the development of digital cinema, film becomes an art medium that connects artistic practices across disciplines. As well as enlargement, reduction and so on, it also creates and builds framings whose analytical tendencies are increasingly complex and broad. Using the medium of film as an interdisciplinary practice itself is an attempt to reach the complexity and expansion of artistic issues as a reflection of the complexity of the social issues of our society today. This complexity also presupposes an effort to build cinematic possibilities in the medium of film, including considering the film frame as a canvas or white space that is ready to be filled by any medium and artistic element of art. Filling and expanding this film frame, like the birth of a white canvas and white space (gallery), as a postulate of modern art that also does not escape the spirit of filling empty space. Similarly, the view of modern theology presupposes that creation comes from empty space. We can connect this tendency with the desire for horror vacui in art, the desire to always fill the void, which in a certain perspective is the fear and hatred of empty space. Ornamental and decorative arts are one of the ways the desire to fill empty space, both as a tribute to the object and subject being built.<\/span><\/p>\n

Cinema itself is a necessity for the fullness of space. When it captures empty space, the necessity of frame, composition, color, sensory and so on, are also inevitable as factors attached to the image. Plenism (fullness) as in the <\/span>Horror Vacui<\/span><\/i>, we can see in the first scene where the image of the ocean itself, presents the camera’s ability to capture the sensory of the visual sensory motion of water and air from the reflection of a kind of heat or image capture from the camera in its farthest capture that shows the tension between the unsteadiness of the image resolution or then the optical effect of the heat of the temperature of an ocean expanse. Similarly, in the last shot, the plenism is an empty stretch of road, passing by a small moving object. <\/span>Horror Vacui <\/span><\/i>are social landscapes that are also shaped by militarism, in which compositions also spread in people’s daily lives.<\/span><\/p>\n

This density is also not just a matter of space, at least in the broader sense of space. Similarly, simulacrum space, which is not something fixed, but also constantly getting denser from the production of images that also form a new map as a guide in seeing today’s reality and in the past. In Hans Gadamer’s view, history is always open because reading history is also in a historical situation, like the pleasure of the punctum who chooses which image they want to impress. The movie R21 aka Restoring Solidarity itself is a kind of re-reading of the image of Palestine in the past.\u00a0 Whether the image findings imply something ‘new’ about the relationship between Palestine and Japan, but the image selection itself is also a punctum experience, to try to get out of the old narrative in an effort to gain sympathy. No wonder the findings of new images also indirectly always change the constellation of simulacrum, which simultaneously also changes the map of reference in viewing reality in the past.\u00a0 As the Palestinian liberation struggle is still not over, finding, sorting, repositioning images is part of the re-storying to achieve new solidarity.<\/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=”11894″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695539380736{margin-bottom: 0px !important;}”]\n

Horror Vacui
\nHorror Vacui<\/span><\/h2>\n

Filmmaker <\/em>Boris Poljak
\n<\/strong>Country of Production<\/em> Croatia
\n<\/strong>Language<\/em> Croatia
\n<\/strong>Subtitle<\/em> \u00a0English<\/strong><\/p>\n

24 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_1695539393977{margin-bottom: 0px !important;}”]Sebuah jukstaposisi gambar yang membentuk militerisasi lanskap dan militerisasi sosial. Berangkat dari konsepsi <\/span>horror vacui<\/span><\/i> ala Aristotelian yang mengandaikan bahwa tidak ada ruang hampa, filem ini\u00a0 diawali bingkai bentangan (lanskap) alam terbuka, yang dilanjutkan dengan\u00a0 bingkai gambar tentang parade membentuk komposisi tersendiri, memperlihatkan perspektif berbeda tentang militer, yang dilanjutkan dengan rangkaian gambar keseharian militerisasi masyarakat. Dokumenter pendek ini pun diakhiri dengan bentangan terbuka, penegasan terhadap gagasan <\/span>horror vacui<\/span><\/i> dengan objek (binatang melata) kecil yang berjalan perlahan di sebuah bentangan jalan.\u00a0\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695539410788{margin-bottom: 0px !important;}”]A juxtaposition of images that militarize the landscape and militarize the social. Departing from the Aristotelian conception of horror vacui that presupposes that there is no vacuum, the film begins with a frame of an open landscape, followed by a frame of images of a parade forming its own composition, showing a different perspective on the military, followed by a series of images of the daily militarization of society. This short documentary also ends with an open expanse, affirming the idea of horror vacui with a small (slithering) object walking slowly on a stretch of road. <\/span>[\/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=”12012″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695539498637{margin-bottom: 0px !important;}”]Boris Poljak (1959) telah bekerja sebagai juru kamera profesional dan sutradara fotografi sejak tahun 1991 dan telah mendapatkan penghargaan di berbagai festival domestik dan internasional atas karyanya. Ia telah menyutradarai lima film pendek, tiga diantaranya ditulis bersama Damir Cucic. Dia tinggal dan bekerja di Split, Kroasia.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695539513384{margin-bottom: 0px !important;}”]Boris Poljak (1959) has been working as a professional cameraman and director of photography since 1991 and has been awarded at various domestic and international festivals for his work. He has directed five short films, three of which were co-written with Damir Cucic. He lives and works in Split, Croatia.<\/span><\/p>\n[\/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=”1695539605940-116788b3-71bb”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11868″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695539723586{margin-bottom: 0px !important;}”]\n

Ghost Light
\nGhost Light<\/span><\/h2>\n

Filmmaker <\/em>Timoteus Anggawan Kusno
\n<\/strong>Country of Production<\/em> Indonesia
\n<\/strong>Language<\/em> No Dialogue
\n<\/strong>Subtitle<\/em> \u00a0–<\/strong><\/p>\n

19 min, Stereo, Black & white,\u00a0 2021<\/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_1695539755186{margin-bottom: 0px !important;}”]Sebuah filem <\/span>performance<\/span><\/i>, mencoba menghubungkan gerak dengan intervensi <\/span>performance<\/span><\/i> suara yang satu kesatuannya tidak luput dari mediasi filem. Proyek eksperimen berangkat dari <\/span>performance <\/span><\/i>gerak, yang kemudian membangun tegangan antara suara, teks, dan gerak, yang performativitasnya hanya dimungkinkan melalui\u00a0 penggunaan dua layar dari satu bingkai filem yang saling bertaut.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695539783149{margin-bottom: 0px !important;}”]A performance film, trying to connect motion with the intervention of sound performance, whose unity does not escape the mediation of film. The experimental project departs from motion performance, which then builds a tension between sound, text, and motion, whose performativity is only possible through the use of two screens from one interlocking film frame. <\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1695539606155-3318f64a-566c”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12013″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695539895569{margin-bottom: 0px !important;}”]Timoteus Anggawan Kusno adalah seorang seniman multidisiplin yang menciptakan karya dalam berbagai medium, termasuk instalasi, gambar, dan gambar bergerak. Karyanya menciptakan narasi yang melibatkan unsur fiksi dan sejarah, serta menyelidiki kolonialitas kekuasaan, proses “pembuatan sejarah,” dan hubungannya dengan kekuasaan, ideologi, imajinasi, dan ingatan kolektif. Karya-karyanya telah dipamerkan di berbagai institusi budaya dan biennale di seluruh dunia. Saat ini, Kusno menempuh pendidikan doktoral di University of Amsterdam dan berkarya di Amsterdam (Belanda) dan Yogyakarta (Indonesia).<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695539910962{margin-bottom: 0px !important;}”]Timoteus Anggawan Kusno is a multidisciplinary artist who creates works in various mediums, including installation, drawing, and moving image. His work creates narratives that involve elements of fiction and history, and investigates the coloniality of power, the process of “history-making,” and its relationship to power, ideology, imagination, and collective memory. His works have been exhibited in various cultural institutions and biennials around the world. Kusno is currently doing his doctoral studies at the University of Amsterdam and works in Amsterdam (Netherlands) and Yogyakarta (Indonesia).<\/span>[\/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=”1695540060869-f79091fa-ff68″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11885″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695540251247{margin-bottom: 0px !important;}”]\n

R21 AKA Restoring Solidarity
\nR21 AKA Restoring Solidarity<\/span><\/h2>\n

Filmmaker <\/em>Mohanad Yaqoubi
\n<\/strong>Country of Production<\/em> Belgium, Qatar, Palestina
\n<\/strong>Language<\/em> Japanese
\n<\/strong>Subtitle<\/em> English<\/strong><\/p>\n

70 min, Stereo, Black & white & Color, 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_1695540283221{margin-bottom: 0px !important;}”]Sebuah\u00a0 material arsip film\u00a0 tentang Palestina yang dibuat pada periode 1960-80-an tentang Palestina di Jepang dibaca ulang, sebagai usaha membangun narasi baru dan solidaritas terhadap kemerdekaan Palestina. Beberapa materi film baik yang bersifat dokumentatif dan non dokumentatif \u00a0 memantulkan perspektif lain dari narasi-narasi besar tentang Palestina, khususnya dari perspektif para aktivis Jepang di masa lalu, yang tentu semakin membawa kompleksitas tersendiri hubungan global dalam kacamata warga. <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695540299514{margin-bottom: 0px !important;}”]An archive of film materials about Palestine made in the 1960-80s about Palestine in Japan was re-read, as an effort to build a new narrative and solidarity for Palestinian independence. Several documentary and non-documentary film materials reflect other perspectives of the grand narratives about Palestine, especially from the perspective of Japanese activists in the past, which certainly brings more complexity to global relations in the eyes of citizens.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1695540061086-02c7fded-d507″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12015″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695540418704{margin-bottom: 0px !important;}”]Mohanad Yaqubi adalah sineas, produser, dan salah satu pendiri rumah produksi yang berbasis di Ramallah, Idioms Film. Yaqubi adalah salah satu pendiri kolektif riset dan kuratorial Subversive Films yang berfokus pada praktik-praktik filem militan, juga anggota pendiri Palestine Film Institute, yang berfokus pada dukungan, promosi, dan pelestarian sinema Palestina. Ia adalah peneliti tetap di The School of the Art (KASK) di Gent, Belgia, sejak tahun 2017.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695540433123{margin-bottom: 0px !important;}”]Mohanad Yaqubi is a filmmaker, producer, and one of the founders of the Ramallah-based production house, Idioms Film. Yaqubi is one of the founders of the research and curatorial collective Subversive Films that focuses on militant film practices, also, a founding member of the Palestine Film Institute, that focus on supporting, promoting, and preserving Palestinian cinema, he is a resident researcher at The School of the Art (KASK) in Gent, Belgium since 2017.<\/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=”5878″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695540863629{margin-bottom: 0px !important;}”]Akbar Yumni<\/b><\/p>\n

AKBAR YUMNI menempuh pendidikan di Universitas Muhammadiyah Malang dan Sekolah Tinggi Filsafat (STF) Driyarkara, Jakarta. Ia adalah anggota Forum Lenteng dan salah satu kurator di ARKIPEL – Jakarta International Documentary and Experimental Film Festival dari tahun 2013. Pada tahun 2015, ia memprakarsai dan berkontribusi di www.jurnalfootage.net. Pernah mengikuti Curator Academy, Theater Work-Goethe Institut, 24-28 Januari 2018 di Singapura. Menerima Hibah Seni Kelola pada tahun 2021. Aktivitasnya sebagai seniman performans adalah memunculkan kembali arsip-arsip film Indonesia yang hilang selama rezim otoriter. Beberapa karya performans reenactment-nya antara lain; “Menonton Turang (1957) – Bachtar Siagian” pada tahun 2018, “Menonton Daerah Hilang (1956) – Bachtiar Siagian pada tahun 2020, “Menonton Sedap Malam (1951) – Ratna Asmara” pada tahun 2021.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695540781496{margin-bottom: 0px !important;}”]Akbar Yumni<\/b><\/p>\n

AKBAR YUMNI studied at University of Muhammadiyah Malang and STF (Higher Education for Philosophy) Driyarkara, Jakarta. He is a member of Forum Lenteng and one of the curators at ARKIPEL – Jakarta International Documentary and Experimental Film Festival from 2013-2018. In 2015, he initiated and contributed in www.jurnalfootage.net. He attended the Curator Academy, Theater Work-Goethe Institut, 24-28 January 2018 in Singapore. Received Hibah Seni Kelola (Kelola Art Grant) in 2021. His activity as a performance artist is reenacting Indonesian film archives that were lost during the authoritarian regime. Some of his reenactment performance works include; \u201cMenonton Turang (1957) – Bachtar Siagian\u201d in 2018, \u201cMenonton Daerah Hilang (1956) – Bachtiar Siagian in 2020, \u201cMenonton Sedap Malam (1951) – Ratna Asmara\u201d in 2021.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

In its development, today’s society has a more performative tendency. The phenomenon of social media also moves and is moved by the community as a unit that shapes people’s daily lives in constructing the reality around them. Media reality or mediated reality has helped shape the daily reality of this society, whose access power also moves (performs) the bodies of individual people in accessing the world of simulacrum which is also reality. Moving and being moved become one simultaneity in constructing and being constructed by the reality of today’s society.\u00a0<\/p>\n","protected":false},"author":1,"featured_media":11885,"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 10 — ARKIPEL<\/title>\n<meta name=\"description\" content=\"In its development, today's society has a more performative tendency. The phenomenon of social media also moves and is moved by the community as a unit that shapes people's daily lives in constructing the reality around them. Media reality or mediated reality has helped shape the daily reality of this society, whose access power also moves (performs) the bodies of individual people in accessing the world of simulacrum which is also reality. Moving and being moved become one simultaneity in constructing and being constructed by the reality of today's society.\u00a0\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arkipel.org\/nmt-ic10\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Noli Me Tangere - International Competition 10 — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"In its development, today's society has a more performative tendency. The phenomenon of social media also moves and is moved by the community as a unit that shapes people's daily lives in constructing the reality around them. Media reality or mediated reality has helped shape the daily reality of this society, whose access power also moves (performs) the bodies of individual people in accessing the world of simulacrum which is also reality. Moving and being moved become one simultaneity in constructing and being constructed by the reality of today's society.\u00a0\" \/>\n<meta property=\"og:url\" content=\"https:\/\/arkipel.org\/nmt-ic10\/\" \/>\n<meta property=\"og:site_name\" content=\"ARKIPEL\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/arkipel.festival\/\" \/>\n<meta property=\"article:author\" content=\"http:\/\/facebook.com\/arkipel.festival\" \/>\n<meta property=\"article:published_time\" content=\"2023-09-24T07:35:28+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/arkipel.org\/wp-content\/uploads\/2023\/07\/screenshot-2023-07-07-004334.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1440\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Arkipel\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@http:\/\/twitter.com\/arkipel\" \/>\n<meta name=\"twitter:site\" content=\"@arkipel\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Arkipel\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/arkipel.org\/nmt-ic10\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/nmt-ic10\/\"},\"author\":{\"name\":\"Arkipel\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef\"},\"headline\":\"Noli Me Tangere – International Competition 10\",\"datePublished\":\"2023-09-24T07:35:28+00:00\",\"dateModified\":\"2023-09-24T07:35:28+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/arkipel.org\/nmt-ic10\/\"},\"wordCount\":3465,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/nmt-ic10\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2023\/07\/screenshot-2023-07-07-004334.jpg?fit=2560%2C1440&ssl=1\",\"keywords\":[\"International Competition\",\"NMT\",\"NMT program\"],\"articleSection\":[\"ARKIPEL 2023 - Noli Me Tangere\",\"International Competition\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/arkipel.org\/nmt-ic10\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/arkipel.org\/nmt-ic10\/\",\"url\":\"https:\/\/arkipel.org\/nmt-ic10\/\",\"name\":\"Noli Me Tangere - International Competition 10 — ARKIPEL\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/arkipel.org\/nmt-ic10\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/nmt-ic10\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2023\/07\/screenshot-2023-07-07-004334.jpg?fit=2560%2C1440&ssl=1\",\"datePublished\":\"2023-09-24T07:35:28+00:00\",\"dateModified\":\"2023-09-24T07:35:28+00:00\",\"description\":\"In its development, today's society has a more performative tendency. The phenomenon of social media also moves and is moved by the community as a unit that shapes people's daily lives in constructing the reality around them. Media reality or mediated reality has helped shape the daily reality of this society, whose access power also moves (performs) the bodies of individual people in accessing the world of simulacrum which is also reality. Moving and being moved become one simultaneity in constructing and being constructed by the reality of today's society.\u00a0\",\"breadcrumb\":{\"@id\":\"https:\/\/arkipel.org\/nmt-ic10\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/arkipel.org\/nmt-ic10\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/nmt-ic10\/#primaryimage\",\"url\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2023\/07\/screenshot-2023-07-07-004334.jpg?fit=2560%2C1440&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2023\/07\/screenshot-2023-07-07-004334.jpg?fit=2560%2C1440&ssl=1\",\"width\":2560,\"height\":1440},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/arkipel.org\/nmt-ic10\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/arkipel.org\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Noli Me Tangere – International Competition 10\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/arkipel.org\/#website\",\"url\":\"https:\/\/arkipel.org\/\",\"name\":\"ARKIPEL\",\"description\":\"Jakarta International Documentary and Experimental Film Festival\",\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/arkipel.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/arkipel.org\/#organization\",\"name\":\"Arkipel\",\"url\":\"https:\/\/arkipel.org\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1\",\"width\":901,\"height\":351,\"caption\":\"Arkipel\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/arkipel.festival\/\",\"https:\/\/x.com\/arkipel\",\"https:\/\/www.instagram.com\/arkipel\/\",\"https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef\",\"name\":\"Arkipel\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g\",\"caption\":\"Arkipel\"},\"description\":\"ARKIPEL - Jakarta International Documentary & Experimental Film Festival, held in Indonesia by Forum Lenteng. This festival is a open space of cinema and media discourse in general, especially documentary and experimental film genre.\",\"sameAs\":[\"http:\/\/arkipel.org\/\",\"http:\/\/facebook.com\/arkipel.festival\",\"https:\/\/x.com\/http:\/\/twitter.com\/arkipel\"],\"url\":\"https:\/\/arkipel.org\/people\/arkipel\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Noli Me Tangere - International Competition 10 — ARKIPEL","description":"In its development, today's society has a more performative tendency. The phenomenon of social media also moves and is moved by the community as a unit that shapes people's daily lives in constructing the reality around them. Media reality or mediated reality has helped shape the daily reality of this society, whose access power also moves (performs) the bodies of individual people in accessing the world of simulacrum which is also reality. Moving and being moved become one simultaneity in constructing and being constructed by the reality of today's society.\u00a0","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/arkipel.org\/nmt-ic10\/","og_locale":"en_US","og_type":"article","og_title":"Noli Me Tangere - International Competition 10 — ARKIPEL","og_description":"In its development, today's society has a more performative tendency. The phenomenon of social media also moves and is moved by the community as a unit that shapes people's daily lives in constructing the reality around them. Media reality or mediated reality has helped shape the daily reality of this society, whose access power also moves (performs) the bodies of individual people in accessing the world of simulacrum which is also reality. Moving and being moved become one simultaneity in constructing and being constructed by the reality of today's society.\u00a0","og_url":"https:\/\/arkipel.org\/nmt-ic10\/","og_site_name":"ARKIPEL","article_publisher":"https:\/\/www.facebook.com\/arkipel.festival\/","article_author":"http:\/\/facebook.com\/arkipel.festival","article_published_time":"2023-09-24T07:35:28+00:00","og_image":[{"width":2560,"height":1440,"url":"https:\/\/arkipel.org\/wp-content\/uploads\/2023\/07\/screenshot-2023-07-07-004334.jpg","type":"image\/jpeg"}],"author":"Arkipel","twitter_card":"summary_large_image","twitter_creator":"@http:\/\/twitter.com\/arkipel","twitter_site":"@arkipel","twitter_misc":{"Written by":"Arkipel","Est. reading time":"13 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/arkipel.org\/nmt-ic10\/#article","isPartOf":{"@id":"https:\/\/arkipel.org\/nmt-ic10\/"},"author":{"name":"Arkipel","@id":"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef"},"headline":"Noli Me Tangere – International Competition 10","datePublished":"2023-09-24T07:35:28+00:00","dateModified":"2023-09-24T07:35:28+00:00","mainEntityOfPage":{"@id":"https:\/\/arkipel.org\/nmt-ic10\/"},"wordCount":3465,"commentCount":0,"publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"image":{"@id":"https:\/\/arkipel.org\/nmt-ic10\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2023\/07\/screenshot-2023-07-07-004334.jpg?fit=2560%2C1440&ssl=1","keywords":["International Competition","NMT","NMT program"],"articleSection":["ARKIPEL 2023 - Noli Me Tangere","International Competition"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/arkipel.org\/nmt-ic10\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/arkipel.org\/nmt-ic10\/","url":"https:\/\/arkipel.org\/nmt-ic10\/","name":"Noli Me Tangere - International Competition 10 — ARKIPEL","isPartOf":{"@id":"https:\/\/arkipel.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/arkipel.org\/nmt-ic10\/#primaryimage"},"image":{"@id":"https:\/\/arkipel.org\/nmt-ic10\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2023\/07\/screenshot-2023-07-07-004334.jpg?fit=2560%2C1440&ssl=1","datePublished":"2023-09-24T07:35:28+00:00","dateModified":"2023-09-24T07:35:28+00:00","description":"In its development, today's society has a more performative tendency. The phenomenon of social media also moves and is moved by the community as a unit that shapes people's daily lives in constructing the reality around them. Media reality or mediated reality has helped shape the daily reality of this society, whose access power also moves (performs) the bodies of individual people in accessing the world of simulacrum which is also reality. Moving and being moved become one simultaneity in constructing and being constructed by the reality of today's society.\u00a0","breadcrumb":{"@id":"https:\/\/arkipel.org\/nmt-ic10\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/arkipel.org\/nmt-ic10\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/nmt-ic10\/#primaryimage","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2023\/07\/screenshot-2023-07-07-004334.jpg?fit=2560%2C1440&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2023\/07\/screenshot-2023-07-07-004334.jpg?fit=2560%2C1440&ssl=1","width":2560,"height":1440},{"@type":"BreadcrumbList","@id":"https:\/\/arkipel.org\/nmt-ic10\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/arkipel.org\/"},{"@type":"ListItem","position":2,"name":"Noli Me Tangere – International Competition 10"}]},{"@type":"WebSite","@id":"https:\/\/arkipel.org\/#website","url":"https:\/\/arkipel.org\/","name":"ARKIPEL","description":"Jakarta International Documentary and Experimental Film Festival","publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/arkipel.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/arkipel.org\/#organization","name":"Arkipel","url":"https:\/\/arkipel.org\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","width":901,"height":351,"caption":"Arkipel"},"image":{"@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/arkipel.festival\/","https:\/\/x.com\/arkipel","https:\/\/www.instagram.com\/arkipel\/","https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ"]},{"@type":"Person","@id":"https:\/\/arkipel.org\/#\/schema\/person\/c2984da36a56e09e4b5184bafce4abef","name":"Arkipel","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/6031ef1fe83cef04c2da0d3bd7eb664c?s=96&d=mm&r=g","caption":"Arkipel"},"description":"ARKIPEL - Jakarta International Documentary & Experimental Film Festival, held in Indonesia by Forum Lenteng. This festival is a open space of cinema and media discourse in general, especially documentary and experimental film genre.","sameAs":["http:\/\/arkipel.org\/","http:\/\/facebook.com\/arkipel.festival","https:\/\/x.com\/http:\/\/twitter.com\/arkipel"],"url":"https:\/\/arkipel.org\/people\/arkipel\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2023\/07\/screenshot-2023-07-07-004334.jpg?fit=2560%2C1440&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-37J","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/12011"}],"collection":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=12011"}],"version-history":[{"count":1,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/12011\/revisions"}],"predecessor-version":[{"id":12016,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/12011\/revisions\/12016"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/11885"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=12011"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=12011"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=12011"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}