{"id":12035,"date":"2023-09-24T16:18:11","date_gmt":"2023-09-24T09:18:11","guid":{"rendered":"https:\/\/arkipel.org\/?p=12035"},"modified":"2023-09-24T16:18:11","modified_gmt":"2023-09-24T09:18:11","slug":"nmt-ic8","status":"publish","type":"post","link":"https:\/\/arkipel.org\/nmt-ic8\/","title":{"rendered":"Noli Me Tangere – International Competition 8"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1695545160602{margin-bottom: 0px !important;}”]\n

Citra dan Yang Lain
\nImage and The Other
\n<\/span><\/em><\/b><\/h1>\n

Host<\/em> Dini Adanurani<\/strong><\/p>\n

28 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_1695545196613{margin-bottom: 0px !important;}”]Kamera, sebagai alat dengan lubang intip di satu sisi dan lensa di sisi lainnya, meletakkan dengan jelas mana yang subjek dan mana yang objek, siapa yang melihat dan siapa yang dilihat. Sebagai anak emas modernisme, ia mengukuhkan posisi manusia sebagai pembuat citra dan pembingkai dunia.\u00a0<\/span><\/p>\n

Nyatanya, dualitas subjek-objek tidak selalu stabil. Di tengah pergulatannya untuk bertahan hidup ketika ruang-ruangnya kerap diokupasi oleh kekuatan yang lebih besar, manusia selalu mencari kendali di balik tombol perekam maupun otoritas untuk memaknai sekelilingnya. Dalam upaya-upaya manusia untuk bereksperimen maupun beradaptasi dengan hal-hal yang sudah terberi, entitas nonmanusia seperti hewan atau teknologi pun turut andil dalam penciptaan citra-citra. Seperti pendulum, filem-filem dalam kuratorial ini berayun antara upaya-upaya mengklaim makna dan kerelaan yang sama untuk mundur sejenak dan memberikan panggung kepada Yang Lain.\u00a0<\/span><\/p>\n

Melalui penelusuran interior apartemen dan rumah susun di Kota Tehran, <\/span>Density of Emptiness <\/span><\/i>(2023) mengangkat paradoks ruang huni yang telah lama kita terima begitu saja, yakni kompleks-kompleks apartemen yang dibiarkan tak berpenghuni untuk mempertahankan nilai investasi yang dilekatkan padanya.\u00a0<\/span><\/p>\n

Filem ini menyajikan kontras antara ruang-ruang apartemen yang serba-putih, disorot dengan gerak kamera yang meluncur pelan melewati lantai keramik yang berkilau; dengan foto adegan keseharian warga Tehran di rumah susun yang penuh sesak, namun tampak penuh kehidupan. Antara objek material yang justru tak tergenggam, dengan tubuh-tubuh yang berkumpul riuh, saling menyentuh. Antara sistem tak berwajah yang terus mendaur ulang dirinya sendiri dalam rangkaian prosedur tanpa tujuan, dengan kebutuhan-kebutuhan perut mendesak untuk hari esok.\u00a0<\/span><\/p>\n

Dalam filem <\/span>Beigu Islet <\/span><\/i>(2022), penelisikan terhadap batas wilayah, ruang, dan objek diwakili oleh batu karang Beigu, marka batas utara wilayah Taiwan dan Cina di Laut Cina Timur. Sebuah kapal Inggris pernah menabraknya pada tahun 1901, yang mendorong pembangunan Mercusuar Tung Yung yang tak jauh dari batu karang tersebut. Tumbuh bibit-bibit ketegangan antara manusia dan alam ketika manusia melakukan usaha-usaha penandaan dan penafsiran atas tubuh yang hidup di luar mereka, dan pada saat yang sama ada ketegangan kontekstual yang muncul karena konsekuensi geopolitis yang dikandung oleh pulau kecil tersebut.<\/span><\/p>\n

Beberapa bidikan terhadap Pulau Beigu diambil dari jauh melalui fitur <\/span>zoom-in<\/span><\/i>\u2014menegaskan adanya entitas yang melihat dan dilihat. Namun, ada kalanya kamera meminjam perspektif gerakan sehari-hari yang ada di pulau itu, mulai dari putaran cahaya mercusuar hingga gelombang ombak. Untuk sesaat, pakem-pakem modern yang menonjolkan kendali manusia dihentikan sejenak, diganti dengan gambar-gambar yang bergoyang secara repetitif, sebuah pernyataan kedaulatan sederhana dalam sunyi.\u00a0<\/span><\/p>\n

Sementara itu, dalam filem <\/span>Jaime\u2019s House <\/span><\/i>(2021), mata manusia di balik lubang intip harus berkolaborasi dengan dinamika dan arus gerak makhluk hidup lainnya. Filem ini diambil dari shot <\/span>bird\u2019s eye<\/span><\/i> yang menyorot komposisi yang cair antara empat elemen: rumput, gambar rumah yang dicetak dalam ukuran besar dan diletakkan di atas rumput, anjing gembala, serta ratusan jumlah domba yang bergerak dalam rombongan. Ketika visual dalam filem ini dibentuk oleh komposisi arus gerak makhluk hidup, barangkali filem ini merupakan nirmana biomorfis dalam pemaknaan yang paling harfiah. Ada ketegangan visual yang terjadi dalam layar ketika susul-menyusul arus domba yang bergerombol menghadapi anjing gembala, maupun gambar rumah yang tampak seperti benda asing di atas rumput hijau.\u00a0<\/span><\/p>\n

Filem esai <\/span>Algorithms of Beauty <\/span><\/i>(2022) menyorot entitas nonmanusia lainnya yang berperan dalam proses pembuatan citra, yakni mesin kecerdasan artifisial (AI). Filem ini menegaskan paralel antara praktik mengkolase bunga kertas yang pernah dilakukan oleh ahli botani Mary Delany dan penciptaan citra bunga dari data-data karya Mary menggunakan AI. Meskipun keduanya sama-sama menciptakan citra dari fragmen-fragmen, citra buatan AI tidak melalui proses seleksi estetik yang memberikan finalitas pada wujud sebuah karya. Bertolak dari data yang ia lahap, mesin dapat memproduksi citra yang terus bermutasi di hadapan kemungkinan dan opsi yang tak terbatas. Jika kolase-kolase bunga yang dibuat oleh Mary selalu mereferensikan spesies tertentu, citra yang diproduksi mesin adalah citra-citra tak bertuan yang kehadirannya melampaui dualitas objek-representasi.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”Forewords” tab_id=”1695524701968-544f6ee4-7b25″][vc_column_text css=”.vc_custom_1695545224945{margin-bottom: 0px !important;}”]The camera, as a tool with a peephole on one side and a lens on the other, establishes clearly which is the subject and which is the object, who sees and who is being seen. As the golden child of modernism, it solidifies man’s position as the image-maker and framer of the world.\u00a0<\/span><\/p>\n

In fact, the subject-object duality is not always stable. In the midst of their struggle to survive when their spaces are often occupied by greater forces, humans always seek control behind the recording button and the authority to interpret their surroundings. Human\u2019s attempts to experiment and adapt to the given, non-human entities such as animals or technology also contribute to the creation of images. Like a pendulum, the films in this curatorial series swing between attempts to claim meaning and a willingness to step back and for the Other.\u00a0<\/span><\/p>\n

Through an exploration of the interiors of apartments and flats in Tehran, <\/span>Density of Emptiness <\/span><\/i>(2023) brings to light the paradox of living spaces that we have long taken for granted, which are apartment complexes that are left uninhabited to maintain their investment value.<\/span><\/p>\n

The film contrasts the all-white spaces of the apartment, shot with the camera gliding slowly across the gleaming tiled floor, with shots of everyday scenes of Tehran residents in overcrowded flats that seem full of life. Between the unattainable material objects and the bodies that gather noisily, touching each other. Between a faceless system that continues to recycle itself in a series of aimless procedures and the urgent hunger for tomorrow.<\/span><\/p>\n

In the film <\/span>Beigu Islet<\/span><\/i> (2022), an examination of boundaries, spaces and objects is represented by the Beigu rock, marking the northern boundary between Taiwan and China in the East China Sea. A British ship crashed into it in 1901, which led to the construction of the Tung Yung Lighthouse not far from the rock. Seeds of tension grew between humans and nature as humans attempt to signify and interpret the living body beyond them. At the same time, contextual tensions arise due to the geopolitical ramifications of the small island.<\/span><\/p>\n

Some shots of Beigu Island are taken from afar through the zoom-in feature\u2014emphasizing the entity that sees and is being seen. However, there are times when the camera borrows the perspective of the island’s everyday movements, from the rotating lighthouse to the oscillating waves. For a moment, modern conventions that emphasize human control come to a halt, replaced with images that sways repeatedly, a simple statement of sovereignty in silence.\u00a0<\/span><\/p>\n

Meanwhile, in <\/span>Jaime’s House<\/span><\/i> (2021), the human eye behind the peephole must collaborate with the dynamics and flow of other living things. The film is taken from a bird’s eye shot that captures the fluid composition between four elements: the grass, the large printed image of the house laid on the grass, the sheepdog, and the hundreds of sheep moving in groups. When the visuals in this film are formed by the composition of the flow of movement of living beings, perhaps this film is a biomorphic design in the most literal sense. There is a visual tension that occurs on the screen when the successive flows of sheep faces the shepherd dogs, as well as the image of the house that looks like an alien object on the green grass.<\/span><\/p>\n

The essay film <\/span>Algorithms of Beauty <\/span><\/i>(2022) highlights another non-human entity that plays a role in the image-making process, the artificial intelligence (AI) machine. The film emphasizes the parallels between botanist Mary Delany’s practice of collaging paper flowers and AI\u2019s processing of the data that represents Mary\u2019s flower collages. While both create images from fragments, AI-made images do not go through an aesthetic selection process that gives finality to the form of a work. Based on the data it consumes, the machine can produce images that perpetually mutate in the face of infinite possibilities and options. If Mary’s flower collages always referenced a particular species, the machine-produced images are unmediated images whose presence transcends the object-representation duality. <\/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=”11874″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695545498109{margin-bottom: 0px !important;}”]\n

Jaime’s House
\nJaime’s House<\/span><\/h2>\n

Filmmaker <\/em>Marie Gavois, Michel Kl\u00f6fkorn
\n<\/strong>Country of Production<\/em> Germany, Spain, Sweden
\n<\/strong>Language<\/em> No Dialogue
\n<\/strong>Subtitle<\/em> –<\/p>\n

4 min, Stereo, Color, 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_1695545531362{margin-bottom: 0px !important;}”]Filem <\/span>Jaime\u2019s House<\/span><\/i> diambil dari shot <\/span>bird\u2019s eye<\/span><\/i> yang menyorot komposisi yang cair antara empat elemen: rumput, gambar rumah yang dicetak dalam ukuran besar dan diletakkan di atas rumput, anjing gembala, serta ratusan jumlah domba yang bergerak dalam rombongan. Ketika visual dalam filem ini dibentuk oleh komposisi arus gerak makhluk hidup, barangkali filem ini merupakan nirmana biomorfis dalam pemaknaan yang paling harfiah. Ada ketegangan visual yang terjadi dalam layar ketika susul-menyusul arus domba yang bergerombol menghadapi anjing gembala, maupun gambar rumah yang tampak seperti benda asing di atas rumput hijau.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695545552710{margin-bottom: 0px !important;}”]The film is taken from a bird’s eye shot that captures the fluid composition between four elements: the grass, the large printed image of the house laid on the grass, the sheepdog, and the hundreds of sheep moving in groups. When the visuals in this film are formed by the composition of the flow of movement of living beings, perhaps this film is a biomorphic design in the most literal sense. There is a visual tension that occurs on the screen when the successive flows of sheep faces the shepherd dogs, as well as the image of the house that looks like an alien object on the green grass.<\/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=”12036″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695545636533{margin-bottom: 0px !important;}”]Marie Gavois dan Michel Kl\u00f6fkorn telah berkolaborasi sebagai duo seniman sejak tahun 2013, menciptakan karya-karya dalam berbagai medium termasuk film, pertunjukan, instalasi, dan seni radio.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695545671471{margin-bottom: 0px !important;}”]Marie Gavois and Michel Kl\u00f6fkorn have collaborated as an artist duo since 2013, creating works in various mediums including films, performances, installations, and radio art.<\/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=”11858″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695545914216{margin-bottom: 0px !important;}”]\n

Beigu Islet
\nBeigu Islet<\/span><\/h2>\n

Filmmaker <\/em>Hsin-Yu Chen
\n<\/strong>Country of Production<\/em> Taiwan
\n<\/strong>Language<\/em> No Dialogue
\n<\/strong>Subtitle<\/em>\u00a0–<\/strong><\/p>\n

13 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_1695545942395{margin-bottom: 0px !important;}”]Dalam filem <\/span>Beigu Islet<\/span><\/i>, penelisikan terhadap batas wilayah, ruang, dan objek diwakili oleh batu karang Beigu, marka batas utara wilayah Taiwan dan Cina di Laut Cina Timur. Sebuah kapal Inggris pernah menabraknya pada tahun 1901, yang mendorong pembangunan Mercusuar Tung Yung yang tak jauh dari batu karang tersebut. Tumbuh bibit-bibit ketegangan antara manusia dan alam ketika manusia melakukan usaha-usaha penandaan dan penafsiran atas tubuh yang hidup di luar mereka, dan pada saat yang sama ada ketegangan kontekstual yang muncul karena konsekuensi geopolitis yang dikandung oleh pulau kecil tersebut.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695545965388{margin-bottom: 0px !important;}”]In the film <\/span>Beigu Islet<\/span><\/i>, an examination of boundaries, spaces and objects is represented by the Beigu rock, marking the northern boundary between Taiwan and China in the East China Sea. A British ship crashed into it in 1901, which led to the construction of the Tung Yung Lighthouse not far from the rock. There are seeds of tension between humans and nature as humans attempt to signify and interpret the living body beyond them, and at the same time there are contextual tensions that arise due to the geopolitical ramifications of the small island.<\/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=”11858″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695546093458{margin-bottom: 0px !important;}”]Hsin-Yu Chen adalah seorang pembuat film dan seniman yang karyanya mengeksplorasi ruang batas antara melihat dan dilihat, di mana subjektivitas diimplikasikan dan dikonstruksi. Karya terbarunya menyelidiki persimpangan antara tubuh yang melihat dan subjek politik. Ia memiliki gelar MFA di bidang film dan seni media dari Temple University dan saat ini tinggal di Taipei, Taiwan.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695546114628{margin-bottom: 0px !important;}”]Hsin-Yu Chen is a filmmaker and artist whose work explores the liminal space between seeing and being seen where subjectivity is implicated and constructed. His recent work investigates the intersection of the viewing body and the political subject. He holds an MFA in film and media arts from Temple University and is currently based in Taipei, Taiwan.<\/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=”11863″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695546406102{margin-bottom: 0px !important;}”]\n

Density of Emptiness
\nDensity of Emptiness<\/span><\/h2>\n

Filmmaker <\/em>Shirin Barghnavard
\n<\/strong>Country of Production<\/em> Germany, France, Iran
\n<\/strong>Language<\/em> German, French
\n<\/strong>Subtitle<\/em>\u00a0English<\/strong><\/p>\n

21 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_1695546438312{margin-bottom: 0px !important;}”]Melalui penelusuran interior apartemen dan rumah susun di Kota Tehran, Density of Emptiness mengangkat paradoks ruang huni yang telah lama kita terima begitu saja, yakni kompleks-kompleks apartemen yang dibiarkan tak berpenghuni untuk mempertahankan nilai investasi yang dilekatkan padanya. Filem ini menyajikan kontras antara ruang-ruang apartemen yang serba-putih, disorot dengan gerak kamera yang meluncur pelan melewati lantai keramik yang berkilau; dengan foto adegan keseharian warga Tehran di rumah susun yang penuh sesak, namun tampak penuh kehidupan.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695546878779{margin-bottom: 0px !important;}”]Through an exploration of the interiors of apartments and flats in Tehran, <\/span>Density of Emptiness <\/span><\/i>brings to light the paradox of living spaces that we have long taken for granted, which are apartment complexes that are left uninhabited to maintain their investment value. The film contrasts the all-white spaces of the apartment, shot with the camera gliding slowly across the gleaming tiled floor, with shots of everyday scenes of Tehran residents in overcrowded flats that seem full of life. <\/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=”12038″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695546548357{margin-bottom: 0px !important;}”]Shirin Barghnavard (Iran, 1976) bekerja sebagai pembuat film dokumenter dan editor. Ia menerima gelar sarjana dalam bidang penyutradaraan film dari Universitas Sooreh di Teheran pada tahun 2000. Lima tahun kemudian ia menerima gelar Diploma di bidang Seni Layar (Film dan Televisi) dari Central Institute of Technology di Perth\/Australia Barat. Sejak tahun 1999, ia bekerja sebagai penulis lepas, sutradara dan produser berbagai film pendek dan panjang, serta film dokumenter.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695546564819{margin-bottom: 0px !important;}”]Shirin Barghnavard (Iran, 1976) works as a documentary filmmaker and editor. She received her bachelor’s degree in film directing from Sooreh University of Tehran in 2000. Five years later she received a Diploma in Screen Arts (Film and Television) from the Central Institute of Technology in Perth\/West Australia. Since 1999 she has been working actively as a freelance writer, director and producer of many short and feature-length stories and documentaries. <\/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=”11857″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695546741144{margin-bottom: 0px !important;}”]\n

Algorithms of Beauty
\nAlgorithms of Beauty<\/span><\/h2>\n

Filmmaker <\/em>Mil\u00e9na Trivier
\n<\/strong>Country of Production<\/em> Belgium
\n<\/strong>Language<\/em> French
\n<\/strong>Subtitle<\/em>\u00a0English<\/strong><\/p>\n

21 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_1695546799818{margin-bottom: 0px !important;}”]Filem esai Algorithms of Beauty menyorot entitas nonmanusia lainnya yang berperan dalam proses pembuatan citra, yakni mesin kecerdasan artifisial (AI). Filem ini menegaskan paralel antara praktik mengkolase bunga kertas yang pernah dilakukan oleh ahli botani Mary Delany dan penciptaan citra bunga dari data-data karya Mary menggunakan AI. Meskipun keduanya sama-sama menciptakan citra dari fragmen-fragmen, citra buatan AI tidak melalui proses seleksi estetik yang memberikan finalitas pada wujud sebuah karya. Bertolak dari data yang ia lahap, mesin dapat memproduksi citra yang terus bermutasi di hadapan kemungkinan dan opsi yang tak terbatas.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695546848692{margin-bottom: 0px !important;}”]The essay film <\/span>Algorithms of Beauty <\/span><\/i>(2022) highlights another non-human entity that plays a role in the image-making process, the artificial intelligence (AI) machine. The film emphasizes the parallels between botanist Mary Delany’s practice of collaging paper flowers and AI\u2019s processing of the data that represents Mary\u2019s flower collages. While both create images from fragments, AI-made images do not go through an aesthetic selection process that gives finality to the form of a work. Based on the data it consumes, the machine can produce images that perpetually mutate in the face of infinite possibilities and options. If Mary’s flower collages always referenced a particular species, the machine-produced images are unmediated images whose presence transcends the object-representation duality.<\/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_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=”10875″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695546982360{margin-bottom: 0px !important;}”]Dini Adanurani<\/b><\/p>\n

Dini Adanurani adalah seorang peneliti film dan seni independen yang tinggal di Jakarta. Dini sering terlibat dalam penyelenggaraan festival film seperti ARKIPEL – Jakarta International Documentary and Experimental Film Festival dan Festival Film UI. Penelitian sebelumnya dengan Forum Lenteng mencakup topik arsip film Indonesia, candi-candi Jawa, dan narasi sehari-hari, mengembangkan praktiknya ke dalam instalasi, video, dan seni pertunjukan yang direalisasikan secara kolektif. Ia adalah alumnus Akademi Kritikus Locarno 2022. Tulisannya dapat ditemukan di Variety, photog\u00e9nie, dan Jurnal Footage.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695547011819{margin-bottom: 0px !important;}”]Dini Adanurani<\/b><\/p>\n

Dini Adanurani is an independent film and art researcher based in Jakarta. She is often involved in organizing film festivals such as ARKIPEL – Jakarta International Documentary and Experimental Film Festival and UI Film Festival. Her previous research with Forum Lenteng covers topics of Indonesian film archives, Javanese temples, and everyday narratives, developing her practice into collectively realized installations, videos, and performance art. He is an alumnus of Locarno Critics Academy 2022. Her writing can be found in Variety, photog\u00e9nie, and Footage Journal.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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