{"id":12023,"date":"2023-09-24T16:04:44","date_gmt":"2023-09-24T09:04:44","guid":{"rendered":"https:\/\/arkipel.org\/?p=12023"},"modified":"2023-09-24T21:54:15","modified_gmt":"2023-09-24T14:54:15","slug":"nmt-ic5","status":"publish","type":"post","link":"https:\/\/arkipel.org\/nmt-ic5\/","title":{"rendered":"Noli Me Tangere – International Competition 5"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1695542624235{margin-bottom: 0px !important;}”]\n

Rekonstruksi Para Filibuster
\nReconstruction of the Filibuster<\/span><\/em><\/b><\/h1>\n

Host<\/em> Luthfan Nur Rochman<\/strong><\/p>\n

27 September 2023 \u2013 16.00<\/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_1695542697962{margin-bottom: 0px !important;}”]Kelahiran sinema sebagai modifikasi dari teknologi reproduksi realita paling mutakhir pada penghujung abad 19 menyimpan potensi tidak terbatas pada cara bertuturnya. Seni plastis (seni rupa, patung), arsitektur dengan tradisi Eropa yang panjang mempengaruhi sisi artistik dari komposisi imajinya. Sedangkan sastra dan pertunjukkan, yang mengedepankan bahasa dan narasi yang mapan, dapat menempatkannya di posisi elit, di mana sebelumnya ia hanya menghadirkan rekaman keseharian yang hanya memantik keterpukauan teknologi publik awam saja.\u00a0<\/span><\/p>\n

Namun untuk setiap kemapanan pasti ada para filibuster. Filibuster berakar dari terma berkonotasi subversif (perompak, milisi pemberontak) yang diapropriasi menjadi terma politik dan memiliki arti para penggugat kebijakan dalam sistem parlementer. Para filibuster sinema menyadari potensi medium ini untuk mengacak-acak cara kita mengetahui. Dari tujuan avant-gardisme hingga pembangunan negara baru, mereka melancarkan gangguan fisikalitas pada mediumnya (menggores seluloid, mengakali <\/span>shutter<\/span><\/i>) hingga rekonfigurasi ideologi negara lewat berbagai teori montase. Perkembangan bahasa tutur ini merangkum sejarah sosial politik Dunia Barat selama berdekade dengan senantiasa mendayagunakan perkembangan teknologinya\u2013filem suara, filem warna, kamera dan perekam suara jinjing.<\/span><\/p>\n

Lantas, perubahan besar terjadi ketika konstelasi dunia berubah pasca-Perang Dunia II. Suara-suara dari subjek kolonial Dunia Barat mengapropriasi bahasa tutur sinema mapan ke dalam konteks lokasinya sendiri. Gerakan sinema para filibuster di apa yang disebut sebagai Negara Dunia Ketiga meruntuhkan unsur-unsur <\/span>worldview<\/span><\/i> Barat yang selama ini mengobjektifikasi dan membercandai warisan kultural mereka. Pencerapan waktu dan lokasi yang selama ini mengikuti struktur naratif Aristotelian khas tradisi Barat, dibongkar. Nilai-nilai kebenaran warisan Abad Pencerahan dipertanyakan ulang seturut pengalaman kompleks negara jajahan. Pembelajaran ini berlaku ulang-alik, para sineas Barat pun berdialog dengan cara bertutur ini. Sinema, beriringan dengan seni lain, bukan lagi hanya mempertanyakan posisi adiluhung keseniannya dalam bertutur (di samping keuntungan bisnis yang selalu ada), tapi bagaimana ia menghadirkan sebuah tegangan etis antara subjek di depan dan di belakang kamera dan relasinya dengan konteks luarannya, yang kala itu perlu segera dipecahkan seperti kolonialisme, Perang Dingin, kapitalisme lanjut hingga yang paling kiwari, krisis diaspora. Sinema menjadi strategi para filibuster.<\/span><\/p>\n

Ketiga filem dalam kuratorial ini menunjukkan strategi para sineas dalam melucuti warisan persoalan-persoalan yang mensubordinasi kondisi publik tertentu. Kita berangkat dari tiga lokus yang mengandaikan hubungan jarak jauh, yaitu Kanal St. Denis, Prancis \u2013 Afrika Utara & Timur Tengah; Gurun Atacama, Chile \u2013 Cadiz, Spanyol; dan pabrik jagal di perbatasan Italia dan Balkan. Ketiganya tak pelak mengimplikasikan hubungan subordinasi antara satu subjek dengan lainnya. Persepsi situs yang memuat trauma sejarah maupun trauma masa kini dinavigasikan oleh para sineas yang berasal dari pihak tersubordinasi di ketiga filem ini dengan strategi rekonstruksi.<\/span><\/p>\n

Mal Tourne<\/span><\/i> mengajak kita untuk memeriksa kanal-kanal di Prancis sebagai situs kekerasan terkini terhadap para imigran, buntut dari konflik Arab Spring yang melahirkan diaspora besar dunia kontemporer. Diaspora yang sepanjang sejarah menjadi titik formatif dalam peradaban, lewat filem ini diterangkan menjadi proyek rekonstruksi identitas baru dan gesekannya dengan birokrasi negara mapan. Dari permainan grid-grid kanal, manusia pun membangun fiksi identitas dan melegitimasi sejarah mereka seturut dengan kebutuhan lokasi baru.\u00a0<\/span><\/p>\n

Para penambang emas, kuburan klandestin, dan kisah filibusterisme pada kolonialisme memahat masyarakat di Antofagasta, Gurun Atacama, Chili. <\/span>Otro Sol<\/span><\/i> mempertemukan fiksi, kenyataan, dan dokumen persidangan tokoh filibuster yang mendisrupsi hubungan warga di reruntuhan pemukiman di gurun tersebut. Rekonstruksi sang sineas mempertemukan subjek lintas generasi dengan empu kolonialnya, Spanyol, maupun pelajaran mencari emas menjadi sebuah siasat untuk memperlihatkan struktur kolonialisme yang masih perlu digerus.<\/span><\/p>\n

Struktur kolonialisme dan dimutakhirkan lewat kapitalisme lanjut melahirkan berbagai kompleks industri, termasuk pangan. <\/span>Ingresso Animali Vivi<\/span><\/i> membuat refleksi penting atas ontologi hewan yang sejak lama menjadi objek dari manusia. Sineas bersama seekor anjing, menjajaki sebuah situs bekas peternakan modern di perbatasan Italia dan Balkan dan merekonstruksi tata ruang dan artefak-artefak penyiksa para hewan ternak lewat imaji buatan komputer. Gerakan anjing yang melanggar grid-grid dingin kompleks industrial ini menyajikan puisi yang genting atas relasi manusia dan non-manusia dan peran mekanisasi besar di dalamnya.<\/span><\/p>\n

Ketiga filem ini dapat kita lihat sebagai kerja arkeologis para sineasnya. Kerja arkeologi yang memiliki tujuan rekonstruksi dicapai oleh para sineas dengan mengekskavasi situs kekerasan, menemukan artefak, arsip maupun kesaksian-kesaksian sepelupa atau sepembual apa pun si subjek. Dari temuan-temuan fragmentaris itu, para sineas mendayagunakan sisi filibuster mereka yang sadar penuh atas struktur subordinasi yang mereka warisi dan menyiasati sejarah yang walau melampaui kenyataan namun memiliki kegentingan untuk dipikirkan ulang.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”Forewords” tab_id=”1695524701968-544f6ee4-7b25″][vc_column_text css=”.vc_custom_1695542716434{margin-bottom: 0px !important;}”]The birth of cinema as a modification of the latest reality reproduction technology at the end of the 19th century holds unlimited potential in its storytelling. Plastic arts (fine arts, sculpture), architecture with a long European tradition influenced the artistic side of its imagery composition. Meanwhile, literature and the performing arts, which emphasize language and established narratives, can place it in an elite position, where previously it only presented a record of everyday life that only ignited the technological fascination of the common public.\u00a0<\/span><\/p>\n

But for every establishment there are filibusters. Filibuster has its roots in a term with subversive connotations (pirates, rebel militia) that has been appropriated into a political term and means policy challengers in a parliamentary system. Cinema filibusters realized the medium’s potential to scramble our ways of knowing. From avant-gardism to the construction of a new state, they disrupted the physicality of the medium (scratching celluloid, circumventing the shutter) to reconfiguring the ideology of the state through various montage theories. The development of this speech language encapsulates decades of socio\u2013political history of the Western World by constantly leveraging its technological developments-sound film, color film, cameras and portable voice recorders.<\/span><\/p>\n

Then, a major change occurred when the world constellation changed after World War II. The voices of the colonial subjects of the Western World appropriated the established language of cinema into the context of their own location. The filibuster cinema movement in the so-called Third World countries undermined elements of the Western worldview that had objectified and ridiculed their cultural heritage. The absorption of time and location, which had followed the Aristotelian narrative structure typical of the Western tradition, was dismantled. The truth values inherited from the Age of Enlightenment were questioned in the light of the complex experiences of the colonized countries. This learning goes back and forth, and Western filmmakers are in dialog with this way of storytelling. Cinema, along with other arts, no longer only questioned the noble position of its art in storytelling (in addition to the everlasting business profits), but how it presented an ethical tension between the subjects in front of and behind the camera and their relationship with the external context, which at that time needed to be resolved immediately such as colonialism, the Cold War, advanced capitalism to the most recent, the diaspora crisis. Cinema became the strategy of the filibusters.<\/span><\/p>\n

The three films in this curatorial show the filmmakers’ strategies in disarming the legacy of issues that subordinate certain public conditions. We depart from three locuses that presuppose long-distance relationships, namely the St. Denis Canal, France – North Africa & Middle East; Atacama Desert, Chile – Cadiz, Spain; and a slaughterhouse on the border of Italy and the Balkans. All three inevitably imply a relationship of subordination between one subject and another. The perception of sites that contain historical and present-day trauma is navigated by filmmakers who come from the subordinated parties in these three films with reconstruction strategies.<\/span><\/p>\n

Mal Tourne<\/span><\/i> invites us to examine the canals in France as the site of recent violence against immigrants, the result of the Arab Spring conflict that gave birth to the great diaspora of the contemporary world. Diaspora, which throughout history has been a formative point in civilization, through this film is explained to be a new identity reconstruction project and its friction with the established state bureaucracy. From the play of canal grids, humans build identity fictions and legitimize their history according to the needs of the new location.\u00a0<\/span><\/p>\n

Gold miners, clandestine cemeteries, and stories of filibustering colonialism shape communities in Antofagasta, Atacama Desert, Chile. <\/span>Otro Sol<\/span><\/i> brings together fiction, reality, and documents of the filibuster trial that disrupted community relations in the ruins of the desert settlement. The filmmaker’s reconstruction of cross-generational subjects with their colonial masters, Spain, as well as the lessons of gold prospecting become a tactic to show the structures of colonialism that still need to be eroded.<\/span><\/p>\n

The structures of colonialism and advanced capitalism further gave birth to various industrial complexes, including food. <\/span>Ingresso Animali Vivi<\/span><\/i> makes an important reflection on the ontology of animals that have been the object of humans for a long time. The filmmaker, together with a dog, explores a site of a former modern farm on the border of Italy and the Balkans and reconstructs the spatial layout and artifacts of torture of farm animals through computer-generated imagery. The dog’s movement through the cold grids of the industrial complex presents a poignant poetry of human and non-human relations and the role of large-scale mechanization in them.<\/span><\/p>\n

We can see these three films as the archaeological work of the filmmakers. Archaeological work that has the goal of reconstruction is achieved by filmmakers by excavating sites of violence, finding artifacts, archives and testimonies, no matter how forgetful or braggart the subject is. From these fragmentary findings, the filmmakers utilize their filibustering side, fully aware of the structures of subordination they have inherited and deal with a history that, even though it is beyond reality, has the urgency to be rethought.<\/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=”11882″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695543193834{margin-bottom: 0px !important;}”]\n

Otro Sol<\/b><\/h2>\n

Filmmaker <\/em>Francisco Rodriguez Teare
\n<\/strong>Country of Production<\/em> Chile, France, Belgium
\n<\/strong>Language<\/em> Spanish, Italian
\n<\/strong>Subtitle<\/em> \u00a0English<\/strong><\/p>\n

85 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_1695543259596{margin-bottom: 0px !important;}”]Para penambang emas, kuburan klandestin, dan kisah filibusterisme pada kolonialisme memahat masyarakat di Antofagasta, Gurun Atacama, Chili. Sineas<\/span> mempertemukan fiksi, kenyataan, dan dokumen persidangan tokoh filibuster yang mendisrupsi hubungan warga di reruntuhan pemukiman di gurun tersebut. Rekonstruksi sang sineas mempertemukan subjek lintas generasi dengan empu kolonialnya, Spanyol, dan pelajaran mencari emas menjadi sebuah siasat untuk memperlihatkan struktur kolonialisme yang masih perlu digerus.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695543268731{margin-bottom: 0px !important;}”]Gold miners, clandestine cemeteries, and stories of filibustering colonialism shape communities in Antofagasta, Atacama Desert, Chile. Filmmaker brings together fiction, reality, and documents of the filibuster trial that disrupted community relations in the ruins of the desert settlement. The filmmaker’s reconstruction of cross-generational subjects with their colonial masters, Spain, as well as the lessons of gold prospecting become a tactic to show the structures of colonialism that still need to be eroded.<\/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=”12027″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695543317922{margin-bottom: 0px !important;}”]Francisco Rodr\u00edguez Teare, seniman dan pembuat film berbasis di Chili dan Prancis, fokus pada karya gambar bergerak menggunakan video dan instalasi. Sejak 2015, ia memamerkan karya film dan video yang mengeksplorasi aliran kekuasaan, jejak-jejak orang mati, tradisi lisan, dan ingatan pribadi. Karyanya dipresentasikan di berbagai tempat, termasuk Film Society of Lincoln Center, Taipei Biennial, FID Marseille, Collection Lambert, CPH: DOX, Courtisane, Doc Lisboa, Viennale, dan Birkbeck Institute for the Moving Image.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695543325036{margin-bottom: 0px !important;}”]Francisco Rodr\u00edguez Teare, an artist and filmmaker based in Chile and France, focuses on moving image works using video and installation. Since 2015, he has been exhibiting film and video works that explore the flow of power, traces of the dead, oral tradition, and personal memory. His works have been presented at various venues, including Film Society of Lincoln Center, Taipei Biennial, FID Marseille, Collection Lambert, CPH: DOX, Courtisane, Doc Lisboa, Viennale, and Birkbeck Institute for the Moving Image.<\/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=”1695543472858-8fcfc264-3a9a”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11876″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695551884521{margin-bottom: 0px !important;}”]\n

Maltournee<\/h2>\n

Filmmaker <\/em>Pooya Abassian<\/strong>
\n<\/strong>Country of Production<\/em> Germany, France, Iran
\n<\/strong>Language<\/em> English
\n<\/strong>Subtitle<\/em> \u00a0English<\/strong><\/p>\n

26 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_1695544046532{margin-bottom: 0px !important;}”]Filem ini mengajak kita untuk memeriksa kanal-kanal di Prancis sebagai situs kekerasan terkini terhadap para imigran, buntut dari konflik Arab Spring yang melahirkan diaspora besar dunia kontemporer. Diaspora yang sepanjang sejarah menjadi titik formatif dalam peradaban, lewat filem ini diterangkan menjadi proyek rekonstruksi identitas baru dan gesekannya dengan birokrasi negara mapan. Dari permainan grid-grid kanal, manusia pun membangun fiksi identitas dan melegitimasi sejarah mereka seturut dengan kebutuhan lokasi baru.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695544061228{margin-bottom: 0px !important;}”]The film invites us to examine the canals in France as the site of recent violence against immigrants, the result of the Arab Spring conflict that gave birth to the great diaspora of the contemporary world. Diaspora, which throughout history has been a formative point in civilization, through this film is explained to be a new identity reconstruction project and its friction with the established state bureaucracy. From the play of canal grids, humans build identity fictions and legitimize their history according to the needs of the new location.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1695543472996-6403eaf5-8286″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12031″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695544128602{margin-bottom: 0px !important;}”]Pooya Abbasian adalah seniman Iran yang praktiknya meliputi fotografi, video, gambar, dan instalasi, yang semuanya dicirikan oleh investigasi puitisnya terhadap gambar sebagai entitas visual, media komunikasi, dan objek representasi budaya. Karya Abbasian berkaitan dengan ambiguitas dan kondisi gambar yang fana, dan melalui pengumpulan dan eksplorasi gambar, ia mengekspos hubungan yang kompleks dan paradoks antara gambar dan gagasan yang kita miliki tentang realitas\/kebenaran.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695544142639{margin-bottom: 0px !important;}”]Pooya Abbasian is an Iranian artist whose practice spans photography, video, drawing and installation, all of which are characterised by their poetic investigation of the image as a visual entity, a medium of communication and an object of cultural representation. Abbasian’s work engages with the ambiguities and transitory states of images, and through their collection and exploration, he exposes the complex and paradoxical relationship between the image and the idea we have of reality\/veracity.<\/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=”1695544428562-7b839c4a-e700″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11873″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695544664588{margin-bottom: 0px !important;}”]\n

Ingresso Animali Vivi<\/h2>\n

Filmmaker <\/em>Igor Grubic<\/strong>
\n<\/em>Country of Production<\/em> Croatia<\/strong>
\n<\/span>Language<\/em> No dialogue<\/strong>
\nSubtitle<\/em> \u00a0English<\/strong><\/p>\n

15 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_1695544046532{margin-bottom: 0px !important;}”]Filem ini mengajak kita untuk memeriksa kanal-kanal di Prancis sebagai situs kekerasan terkini terhadap para imigran, buntut dari konflik Arab Spring yang melahirkan diaspora besar dunia kontemporer. Diaspora yang sepanjang sejarah menjadi titik formatif dalam peradaban, lewat filem ini diterangkan menjadi proyek rekonstruksi identitas baru dan gesekannya dengan birokrasi negara mapan. Dari permainan grid-grid kanal, manusia pun membangun fiksi identitas dan melegitimasi sejarah mereka seturut dengan kebutuhan lokasi baru.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695544061228{margin-bottom: 0px !important;}”]The film invites us to examine the canals in France as the site of recent violence against immigrants, the result of the Arab Spring conflict that gave birth to the great diaspora of the contemporary world. Diaspora, which throughout history has been a formative point in civilization, through this film is explained to be a new identity reconstruction project and its friction with the established state bureaucracy. From the play of canal grids, humans build identity fictions and legitimize their history according to the needs of the new location.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1695544428733-37af73a2-09fa”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12080″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695567229625{margin-bottom: 0px !important;}”]Igor Grubic (1969) adalah seniman multimedia, aktif sejak awal tahun 1990-an. Karya-karyanya mencakup intervensi di ruang publik, fotografi, dan film. Ia mewakili Kroasia di Venice Biennale ke-58 dan praktiknya yang kritis dan berkomitmen secara sosial-politik menekankan keterlibatan jangka panjang dalam situasi politik masa lalu dan kini. Karya-karyanya, meskipun berbasis dokumenter, memiliki pendekatan afektif dan empati manusiawi yang sering kali puitis, dan telah dipamerkan secara internasional serta menerima sejumlah penghargaan.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695567245286{margin-bottom: 0px !important;}”]Igor Grubic (1969) is a multimedia artist active since the early 1990s. His works include interventions in public space, photography and film. He represented Croatia at the 58th Venice Biennale and his critical and socio-politically committed practice emphasizes long-term engagement in past and present political situations. His work, although documentary-based, has an affective approach and often poetic human empathy, and has been exhibited internationally and received numerous awards.<\/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=”11427″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695550619469{margin-bottom: 0px !important;}”]Luthfan Nur Rochman<\/strong><\/p>\n

Luthfan Nur Rochman merupakan seorang pembuat film, kurator, dan penulis, juga anggota aktif Forum Lenteng dan penyelenggara ARKIPEL, Jakarta Documentary & Experimental Film Festival sejak 2018. Sekarang, dia berfokus pada Milisifilem, sebuah kelompok belajar produksi film melalui praktik eksperimentasi visual, yang digagas oleh Forum Lenteng. Dengan latar belakang arkeologi, karya Luthfan kerap membedah lapisan-lapisan historiografi berbagai produksi kebudayaan.<\/p>\n

Pada 2019, ia mengkurasi Pameran Tunggal Dhanurendra Pandji: Remembrance of Things Past di Forum Lenteng. Baru-baru ini, Luthfan menulis sebuah karya tentang monograf film Indonesia tahun 1953, Harimau Tjampa, dan mengkurasi pameran tunggal Otty Widasari: PARTISAN di Galeri Nasional Indonesia. Ia sedang mengembangkan Program Candikala di Forum Lenteng, yang mencoba mengontekstualisasikan warisan Hindu-Budha di Indonesia melalui praktik seni.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695550667581{margin-bottom: 0px !important;}”]Luthfan Nur Rochman<\/strong><\/p>\n

Luthfan Nur Rochman is a filmmaker, curator, and writer, as well as an active member of Forum Lenteng and organizer of ARKIPEL, the Jakarta Documentary & Experimental Film Festival since 2018. Currently, he focuses on Milisifilem, a film production learning group through visual experimentation practices, initiated by Forum Lenteng. With a background in archaeology, Luthfan’s work often dissects the layers of historiography of various cultural productions.<\/p>\n

In 2019, he curated Dhanurendra Pandji’s Solo Exhibition: Remembrance of Things Past at Forum Lenteng. Most recently, Luthfan wrote a work on the 1953 Indonesian film monograph, Harimau Tjampa, and curated the solo exhibition Otty Widasari: PARTISAN at Galeri Nasional Indonesia. He is currently developing Forum Lenteng’s Candikala Program, which attempts to contextualize Indonesia’s Hindu-Buddhist heritage through art practice.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

We can see these three films as the archaeological work of the filmmakers. Archaeological work that has the goal of reconstruction is achieved by filmmakers by excavating sites of violence, finding artifacts, archives and testimonies, no matter how forgetful or braggart the subject is. From these fragmentary findings, the filmmakers utilize their filibustering side, fully aware of the structures of subordination they have inherited and deal with a history that, even though it is beyond reality, has the urgency to be rethought.<\/p>\n","protected":false},"author":1,"featured_media":11882,"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 5 — ARKIPEL<\/title>\n<meta name=\"description\" content=\"We can see these three films as the archaeological work of the filmmakers. 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