{"id":12021,"date":"2023-09-24T15:39:41","date_gmt":"2023-09-24T08:39:41","guid":{"rendered":"https:\/\/arkipel.org\/?p=12021"},"modified":"2023-09-24T15:43:04","modified_gmt":"2023-09-24T08:43:04","slug":"nmt-ic9","status":"publish","type":"post","link":"https:\/\/arkipel.org\/nmt-ic9\/","title":{"rendered":"Noli Me Tangere – International Competition 9"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1695542008573{margin-bottom: 0px !important;}”]\n

Puisi Milenium: Sebuah Kekuatan Super Orang-orang Biasa
\nMillennium Poetry: The Superpower of Ordinary People
\n<\/span><\/em><\/b><\/h1>\n

Host<\/em> Otty Widasari<\/strong><\/p>\n

26 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_1695542073082{margin-bottom: 0px !important;}”]Seperti peta, generasi juga memiliki kontinum. Kontinum tersebut menarik untuk ditelusuri, sebagai materi pembelajaran tentang peradaban, khususnya dalam ranah budaya. Kita bisa membaca bagaimana pergeseran karakter antar-generasi terjadi, dengan melihat tanda-tanda, seperti adanya peristiwa-peristiwa penting pada kurun waktu tertentu dan kemunculan teknologi ikonik tertentu. Sebagai contoh, ambillah kelompok masyarakat yang disebut sebagai generasi X, atau generasi MTV. Mereka tumbuh dewasa sambil menggunakan Walkman dan komputer personal, sementara di sisi lain kehidupannya, kasus AIDS merebak, perang nuklir terjadi, dan Tembok Berlin runtuh. Masa remaja mereka dihiasi dengan program MTV dan filem-fiem Hollywood. Khusus bagi remaja di Indonesia pada masa itu, mereka mengalami pergantian politik berbangsa: tumbangnya rezim Orde Baru, dan Reformasi pun terjadi di saat mereka mulai memasuki periode kerja. Penanda-penanda tersebut tentu berpengaruh pada cara pandang generasi X terhadap dunia. Hal tersebut juga sangat memengaruhi bagaimana produksi budaya yang diinisiasi individu-individu bisa tercipta. Jika kita membayangkan sebuah puisi yang terlahir dari generasi ini, maka yang akan tergubah adalah sebuah bahasa yang disusun dari kepingan-kepingan peristiwa keseharian yang terimbas krisis ekonomi dan politik, penataan bunyi reruntuhan rezim dan irama yang menderapkan euforia kebebasan.<\/p>\n

Generasi berikutnya, yang dikenal dengan sebutan generasi Y, atau milenial, adalah orang-orang yang tumbuh dalam masa pergantian abad. Merekalah digital native, karena keakraban mereka dengan jaringan internet, seluler, dan media sosial. Generasi inilah yang pada gilirannya kemudian mendapat banyak kritikan dari orang-orang tua, sebagai generasi yang apolitis yang selalu berkutat dengan ke\u2019aku\u2019annya, hingga dijuluki \u2018Me, me, me generation\u2019. Segala aspek kehidupan mereka ditentukan oleh apa yang tersirkulasi dalam jaringan media sosial. Tentu saja itu semua juga berpengaruh besar pada produk-produk budaya yang mereka lahirkan. Generasi Y yang hidupnya serba terhubung dan melegitimasi dirinya melalui jumlah followers dan likes, dan seleranya diarahkan oleh reviews, yang gejalanya makin mengarah ke marjinalisasi diri.<\/p>\n

Tapi, sebenarnya, bagaimana pergeseran watak secara ekstrem antar generasi ini bisa terjadi? Atau, lebih tepatnya, di titik manakah watak tersebut mulai berubah? Dalam kasus generasi Y, apa ujung-pangkalnya, hingga mereka dijuluki sebagai \u2018me generation\u2019? Bisakah kita berasumsi bahwa: di penghujung akhir abad ke 20, perubahan itu dimulai. Saat itu generasi X mulai memasuki usia pertengahan dua puluhan. Seiring dengan perkembangan teknologi internet, muncul perasaan yang sama dari mereka tentang konsep berbagi file digital yang sulit didapat, secara peer-to-peer. Sejak itu pula media sosial mulai dikembangkan.<\/p>\n

Perkembangan tersebut tidak terjadi hanya pada wilayah teknologinya saja, namun juga meluas sampai ke ranah kehidupan sosial. Pola pertemanan yang termediasi terasa menarik dan bermanfaat, tidak dibatasi oleh ruang dan waktu. Awalnya, kaum muda berbagi testimoni dengan sesama user di media sosial. Dari sanalah \u2018konsep diri\u2019 mulai didefinisikan oleh orang lain. Kita bisa menyangkalnya, mengafirmasinya, atau menambahkannya, dan pada akhirnya kita mulai sibuk mendefinisikan diri kita sendiri. Eksistensi diri menjadi begitu penting, bukan melalui pencapaian-pencapaian, tapi melalui penghiasan wilayah privat untuk dilihat oleh publik. Masyarakat jadi suka mengumpulkan reaksi orang lain terhadap dirinya, terhadap karyanya, terhadap pengalaman pribadinya, dan sebagainya. Walau sadar berada di ruang umum, namun tendensi publik arsip media sosial adalah privat. Merias kamar pribadi untuk meraih eksistensi di wilayah umum. Sejak itulah autobiografi orang-orang hebat jadi kalah hebat dengan autobiografi jutaan generasi yang terpampang di halaman depan media sosial mereka, yang dipercantik, diperunik, dan sungguh interaktif sejalan dengan waktu. Inilah ujung-pangkalnya muncul \u2018me generation\u2019, yang mampu meletakkan diri mereka menjadi latar depan sejarah hari ini. Mereka membuat gelombang besar peran \u2018orang biasa\u2019 dalam produk-produk budaya.<\/p>\n

Program kuratorial ini adalah kumpulan kisah\u00a0 para \u2018aku-aku\u2019, yang memilih bersikap politis dengan cara menjadi orang biasa. Inilah susastra di dekade kedua milenium, yang mengungkap kekuatan super orang-orang biasa: orang bisa melayang di udara hanya untuk melihat-lihat lingkungan sekitar (Cherries, Vytautas Katkus, Lithuania); orang sangat yang berhasrat merekam untuk bisa mengungkap preferensi seksualnya (Will You Look at Me, Shuli Huang, China); orang yang punya kemampuan menyesatkan orang lain di dalam sebuah \u2018kisah\u2019 (Mangosteen, Tulapop Saenjaroen, Thailand); orang yang memiliki kemampuan bertahan hidup seperti ikan pari Manta (Manta Ray, Anton Bialas, Perancis); dan orang biasa yang bisa mengumpulkan orang-orang biasa lainnya dalam sebuah perjalanan impresionistik yang membosankan (Aqueronte, Manuel Mu\u00f1oz Rivas, Spanyol).<\/p>\n

Kumpulan filem dalam program kuratorial ini seperti sebuah antologi puisi milenium yang menunjukkan fenomena terkini, yaitu perbincangan orang-orang biasa tentang diri sendiri, menjauhkan diri dari friksi politis. Itu adalah peta lokasi generasi milenial, yang kontinumnya ada pada simulasi sosial, dan bisa dilihat sebagai bentuk pengabaian terhadap kultur sinema dominan.<\/p>\n[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”Forewords” tab_id=”1695524701968-544f6ee4-7b25″][vc_column_text css=”.vc_custom_1695542119955{margin-bottom: 0px !important;}”]Like a map, generations also have a continuum. It is interesting to trace the continuum, as learning material about civilization, especially in the realm of culture. We can read how inter-generational character shifts occur by looking at marks, such as the existence of important events in a certain period of time and the emergence of certain iconic technologies. For example, take the group of people called generation X, or the MTV generation. They grew up using Walkman and personal computers, while on the other side of life, AIDS broke out, nuclear war happened, and the Berlin Wall came down. Their teenage years were filled with MTV programs and Hollywood movies. Especially for Indonesian teenagers at that time, they experienced the nation’s political change: the fall of the New Order regime, and the Reformation occurred when they started to enter the working period. These markers certainly influenced the way Generation X viewed the world. It also greatly influences how cultural production initiated by individuals can be created. If we imagine a poem born from this generation, it would be a language composed of fragments of daily events affected by the economic and political crisis, the sound arrangement of the ruins of the regime, and the rhythm of the euphoria of freedom.<\/p>\n

The next generation, known as generation Y, or millennials, are people who grew up during the turn of the century. They are digital natives, because of their familiarity with the internet, cellular networks, and social media. This is the generation that has been criticized by their elders as being apolitical, always struggling with their ‘me-ness’, and has been dubbed the ‘Me, me, me generation’. All aspects of their lives are determined by what is circulated in social media networks. Of course, this also has a big influence on their cultural products. Generation Y, whose lives are connected and who legitimize themselves through the number of followers and likes, and whose tastes are directed by reviews, are always talking about themselves, whose symptoms are increasingly leading to self-marginalization.<\/p>\n

But how, exactly, does this extreme shift in disposition between generations happen? Or, more precisely, at what point it starts to shift? In the case of generation Y, what was the point at which they were dubbed the ‘me generation’? We can assume that: at the end of the 20th century, the change began. Generation X was in their mid-twenties. Along with the development of internet technology, there was a common feeling among them about the concept of sharing hard-to-get digital files on a peer-to-peer basis. Since then, social media has been developed.<\/p>\n

These developments do not occur only in the area of technology, but also extend to the realm of social life. Mediated friendships are engaging and rewarding, unrestricted by time and space. Initially, young people shared testimonials with fellow users on social media. From there, the ‘self-concept’ begins to be defined by others. We can deny it, affirm it, or add to it, and eventually we start to get busy defining ourselves. Self-existence becomes so important, not through achievements, but the decking of private areas for public viewing. People like to collect other people’s reactions to themselves, to their work, to their personal experiences, and so on. Although aware of being in a public space, the public tendency of social media archives is private. They make up their private rooms to achieve existence in the public domain. Since then, the autobiographies of great people have become less great than the autobiographies of millions of generations displayed on the front pages of their social media, which are beautified, unique, and truly interactive over time. This is where the ‘me generation’ comes in, who are able to put themselves in the foreground of history today. They are making waves in the role of the ‘common people\u2019 in cultural products.<\/p>\n

This curatorial program is a collection of stories of \u2018me(s)’, who choose to be political by being ordinary. This is the literature of the second decade of the millennium, which reveals the superpowers of ordinary people: people who can float in the air just to look around (Cherries, Vytautas Katkus, Lithuania); people with a passion for recording to reveal their sexual preferences (Will You Look at Me, Shuli Huang, China); people who have the ability to mislead others in a ‘story’ (Mangosteen, Tulapop Saenjaroen, Thailand); a person who has the survival skills of a Manta Ray (Manta Ray, Anton Bialas, France); and an ordinary person who can gather other ordinary people in a boring impressionistic journey (Aqueronte, Manuel Mu\u00f1oz Rivas, Spain).<\/p>\n

The collection of films in this curatorial program is like an anthology of millennium poetry that shows the current phenomenon of ordinary people talking about themselves, distancing themselves from political frictions. This is a map of the location of millennials, whose continuum is in social simulation, and can be seen as a form of disregard for the dominant cinema culture.[\/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=”11860″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695542309382{margin-bottom: 0px !important;}”]\n

Uogos
\nCherries<\/span><\/h2>\n

Filmmaker <\/em>Vytautas Katkus
\n<\/strong>Country of Production<\/em> Lithuania
\n<\/strong>Language<\/em> Lithuanian
\n<\/strong>Subtitle<\/em>\u00a0English<\/strong><\/p>\n

15 min, Stereo, 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_1695542343162{margin-bottom: 0px !important;}”]Sebuah dokumenter fiksional yang biografis. Semua unsur dalam filem ini menjauh dari <\/span>statement-statement<\/span><\/i> apapun, hanya sekedar kisah seorang pemuda dan bapaknya yang menikmati makan siang, tanpa drama.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695542363147{margin-bottom: 0px !important;}”]A biographical fictional documentary. All elements in this movie stay away from any statements, just a story of a young man and his father enjoying lunch, without drama.<\/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=”12024″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695542475792{margin-bottom: 0px !important;}”]Vytautas Katkus, lahir di Vilnius pada tahun 1991, adalah seorang sutradara dan sinematografer muda yang sangat diperhitungkan dari Lituania. Ia memiliki gelar BA di bidang Sinematografi dan sedang menempuh pendidikan MA di Akademi Musik dan Teater Lithuania. Debut penyutradaraannya, “Community Gardens” (2019), ditayangkan di Semaine de la Critique ke-58, dan film pendek keduanya, “Places” (2020), tayang perdana di kompetisi Venice Orizzonti. Pada tahun 2022, ia menyajikan film pendek ketiganya, “Cherries”. Vytautas juga sedang mengerjakan film panjang pertamanya, “The Visitor,” yang merupakan bagian dari program Next Step pada tahun 2021.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695542499706{margin-bottom: 0px !important;}”]Vytautas Katkus, born in Vilnius in 1991, is a highly regarded emerging director and cinematographer from Lithuania. He holds a BA in Cinematography and is pursuing his MA studies at the Lithuanian Academy of Music and Theatre. His directorial debut, “Community Gardens” (2019), was featured at the 58th Semaine de la Critique, and his second short film, “Places” (2020), premiered in the Venice Orizzonti competition. In 2022, he presented his third short film, “Cherries.” Vytautas is also working on his first feature film, “The Visitor,” which was part of the Next Step program in 2021.<\/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=”1695542385963-f422f1fa-e228″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11877″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695542713810{margin-bottom: 0px !important;}”]\n

Raie Manta
\nManta Ray<\/span><\/h2>\n

Filmmaker <\/em>Anton Bialas
\n<\/strong>Country of Production<\/em> France
\n<\/strong>Language<\/em> French, Russian
\n<\/strong>Subtitle<\/em>\u00a0English<\/strong><\/p>\n

30 min, Stereo, 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_1695542828186{margin-bottom: 0px !important;}”]Filem ini puisi tentang situasi sosial politik kota Paris yang sudah semakin panas. Orang-orang Paris bermimpi untuk bisa bernapas lebih lega, seperti ikan pari Manta, yang sesekali melompat ke permukaan air untuk bernapas.\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695542856436{margin-bottom: 0px !important;}”]This movie is a poem about the socio-political situation of Paris, which has become increasingly hot. Parisians dream of being able to breathe more freely, like the Manta ray, which occasionally jumps to the surface of the water to breathe.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1695542386125-237dba49-2110″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12025″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695542940229{margin-bottom: 0px !important;}”]Anton Bialas, lahir pada tahun 1990 di Paris dari seorang ibu berkebangsaan Swedia dan ayah berkebangsaan Jerman, adalah seorang pembuat film dan mahasiswa jurusan sinema di Paris III La Sorbonne. Film debutnya, “Behind our Eyes” (2018), ditayangkan di FID Marseille dan berbagai festival internasional. Pada tahun 2020, “At the Entrance of the Night” tayang perdana di Berlinale. “The Blackbird Group Noir” (2021) berkompetisi di Visions du R\u00e9el dan Brive medium-length film Meetings. Karya terbaru Bialas, “Manta Ray,” melanjutkan eksplorasinya terhadap karakter-karakter yang terpinggirkan untuk mencari narasi puitis.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695542955585{margin-bottom: 0px !important;}”]Anton Bialas, born in 1990 in Paris to a Swedish mother and a German father, is a filmmaker and cinema studies student at Paris III La Sorbonne. His debut film, “Behind our Eyes” (2018), was featured at FID Marseille and various international festivals. In 2020, “At the Entrance of the Night” premiered at the Berlinale. “The Blackbird Group Noir” (2021) competed at Visions du R\u00e9el and Brive medium-length film Meetings. Bialas’ latest work, “Manta Ray,” continues his exploration of marginalized characters in search of poetic narratives.<\/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=”1695542972212-990c87d3-2f75″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11892″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695543222823{margin-bottom: 0px !important;}”]\n

Dang wo wang xiang ni de shi hou
\nWill You Look At Me<\/span><\/h2>\n

Filmmaker <\/em>Shuli Huang
\n<\/strong>Country of Production<\/em> China
\n<\/strong>Language<\/em> Chinese
\n<\/strong>Subtitle<\/em>\u00a0English<\/strong><\/p>\n

20 min, Stereo, 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_1695543253693{margin-bottom: 0px !important;}”]Catatan harian seseorang yang mengungkapkan soal preferensi seksualnya pada sang ibu. Catatan harian tersebut hanya merupakan sebuah latar dari hasrat merekam dan bertutur melalui sinema. <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695543269605{margin-bottom: 0px !important;}”]The diary of a man who reveals his sexual preference to his mother. The diary is just a backdrop for the desire to record and tell stories through cinema.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1695542972409-69225a74-4ed5″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12026″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695543333651{margin-bottom: 0px !important;}”]Shuli Huang, lahir di Wenzhou, Tiongkok, pada tahun 1997, adalah seorang penulis-sutradara dan sinematografer. Ia lulus dari Akademi Film Beijing pada tahun 2019 dan mengejar gelar MFA di NYU dalam program Film Pascasarjana di New York. Film debutnya sebagai sinematografer, “Farewell, My Hometown,” meraih penghargaan New Currents Award di Busan International Film Festival ke-26.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695543348927{margin-bottom: 0px !important;}”]Shuli Huang, born in Wenzhou, China, in 1997, is a writer-director and cinematographer. He graduated from the Beijing Film Academy in 2019 and pursued an MFA at NYU in the Graduate Film program in New York. His debut feature as a cinematographer, “Farewell, My Hometown,” earned the New Currents Award at the 26th Busan International Film Festival.<\/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=”1695543364003-3073982b-45c9″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11855″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695543506286{margin-bottom: 0px !important;}”]\n

Aqueronte
\nAqueronte<\/span><\/h2>\n

Filmmaker <\/em>Manuel Mu\u00f1oz Rivas
\n<\/strong>Country of Production<\/em> Spain
\n<\/strong>Language<\/em> Spanish
\n<\/strong>Subtitle<\/em>\u00a0English<\/strong><\/p>\n

25 min, Stereo, Color, 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_1695543578353{margin-bottom: 0px !important;}”]Filem impresionistik, tentang perjalanan yang membosankan di atas kapal feri. Sebuah migrasi dari satu titik ke titik lain, yang digambarkan dengan perjalanan waktu yang ditandai oleh perubahan cahaya matahari.\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695543594035{margin-bottom: 0px !important;}”]An impressionistic movie, about a tedious journey on a ferry. A migration from one point to another, depicted by the passage of time marked by the changing light of the sun.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1695543364215-9dba9f89-4aa2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12028″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695543650514{margin-bottom: 0px !important;}”]Manuel Mu\u00f1oz Rivas adalah seorang pembuat film yang berbasis di Spanyol. Dia menyelingi proyek film pribadinya dengan menulis dan mengedit film untuk rekan-rekannya. Film panjang pertamanya, El Mar Nos Mira De Lejos (Laut Menatap Kami Dari Jauh), ditayangkan pada tahun 2017 di Berlinale, di bagian Forum, dan ditayangkan di beberapa festival film internasional. Film pendeknya Con El Viento (Dengan Angin) ditayangkan di Festival Film Pendek Internasional Oberhausen, 2009.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695543670963{margin-bottom: 0px !important;}”]Manuel Mu\u00f1oz Rivas is a filmmaker based in Spain. He alternates his personal film projects with co-writing and editing films for colleagues. His first feature film El Mar Nos Mira De Lejos (The Sea Stares At Us From Afar) was premiered in 2017 at Berlinale, in the Forum section, and was shown at several international film festivals. His short film Con El Viento (With the Wind) premiered at the Oberhausen International Short Film Festival, 2009.<\/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=”1695543680233-fe393df1-87e5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11879″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695543785586{margin-bottom: 0px !important;}”]\n

Mangosteen
\nMangosteen<\/span><\/h2>\n

Filmmaker <\/em>Tulapop Saenjaroen
\n<\/strong>Country of Production<\/em> Thailand
\n<\/strong>Language<\/em> Thai, German
\n<\/strong>Subtitle<\/em>\u00a0English<\/strong><\/p>\n

40 min, Stereo, 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_1695543821637{margin-bottom: 0px !important;}”]Fiksi tentang pertentangan generasi, ketidakpercayaan generasi tua kepada generasi muda. Si pemuda melakukan pembalasan kepada seniornya, dengan cara menyesatkannya di dalam sebuah \u2018kisah\u2019. <\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695544023889{margin-bottom: 0px !important;}”]A fiction about the clash of generations, the older generation’s distrust of the younger. The youth retaliates against his senior, by misleading her in a ‘story’.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1695543680502-471a5717-5de2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12030″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695544102734{margin-bottom: 0px !important;}”]Tulapop Saenjaroen, lahir pada tahun 1986 di Chon Buri, Thailand, adalah seorang seniman dan pembuat film. Film-film pendeknya baru-baru ini mengeksplorasi hubungan antara produksi gambar dan subjektivitas, serta kompleksitas kontrol dan kebebasan dalam kapitalisme akhir. Dengan menggunakan narasi dan genre film esai, ia menggali tema-tema seperti pariwisata, perawatan diri, kesehatan mental, tenaga kerja bebas, dinamika kekuatan penceritaan, dan esensi sinema. Karya-karya Saenjaroen telah dipamerkan di berbagai tempat dan festival bergengsi di seluruh dunia, termasuk Berlinale, Locarno Film Festival, dan International Film Festival Rotterdam. Karyanya telah menerima penghargaan dari berbagai negara.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695544119315{margin-bottom: 0px !important;}”]Tulapop Saenjaroen, born in 1986 in Chon Buri, Thailand, is an artist and filmmaker. His recent short films explore the relationship between image production and subjectivity, as well as the complexities of control and freedom in late capitalism. Using narrative and the essay film genre, he delves into themes like tourism, self-care, mental health, free labor, storytelling power dynamics, and the essence of cinema. Saenjaroen’s works have been showcased at prestigious venues and festivals worldwide, including Berlinale, Locarno Film Festival, and International Film Festival Rotterdam. His work has received awards from various countries.<\/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=”10884″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695544605503{margin-bottom: 0px !important;}”]Otty Widasari<\/b><\/p>\n

Otty Widasari (Balikpapan, 1973) adalah seorang seniman dan salah satu pendiri Forum Lenteng, sebuah kolektif di Jakarta yang berfokus pada seni, media, dan studi sosial budaya. Praktik artistik tunggalnya dipupuk oleh keterlibatannya dalam aktivisme media, pengalaman jurnalistik yang berhubungan dengan aktualitas sosial dan sejarah, serta studi dan penikmatan film seumur hidup.<\/p>\n

Proyek pameran tunggalnya yang dimulai dari Ones Who Looked at the Presence (Ark Gallerie, Yogyakarta, 2015) hingga Ones Who Are Being Controlled (Dia.lo.gue, Jakarta, 2016), di mana keduanya berurusan dengan gestur sosial yang terdisrupsi oleh hadirnya teknologi media di Indonesia, diakhiri dengan PARTISAN (Galeri Nasional Indonesia, 2022), di mana Otty menggabungkan eksplorasi artistik dan aktivismenya seumur hidup dalam performativitas media, narasi warga, pendidikan alternatif, dan kolaborasi afektif.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695544662062{margin-bottom: 0px !important;}”]Otty Widasari<\/b><\/p>\n

Otty Widasari (Balikpapan, 1973) is an artist and one of the founders of Forum Lenteng<\/a>, a collective in Jakarta focusing on art, media, and sociocultural studies. Her solo artistic practice is nourished by her engagement with media activism, journalistic experiences dealing with social and historical actualities, and a lifelong study and connoisseurship of film.<\/p>\n

Her solo exhibition project that started from Ones Who Looked at the Presence (Ark Gallerie, Yogyakarta, 2015) to Ones Who Are Being Controlled (Dia.lo.gue, Jakarta, 2016), where both deal with the social gesture disrupted by the coming of media technology in Indonesia, concluded in PARTISAN (National Gallery of Indonesia, 2022) where Otty fuses her lifelong artistic exploration and activism in media performativity, citizen narrative, alternative education, and affective collaboration.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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