{"id":12049,"date":"2023-09-24T17:48:04","date_gmt":"2023-09-24T10:48:04","guid":{"rendered":"https:\/\/arkipel.org\/?p=12049"},"modified":"2023-09-28T14:34:28","modified_gmt":"2023-09-28T07:34:28","slug":"nmt-ic7","status":"publish","type":"post","link":"https:\/\/arkipel.org\/nmt-ic7\/","title":{"rendered":"Noli Me Tangere – International Competition 7"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1695551211461{margin-bottom: 0px !important;}”]\n

Bintang Kutub
\nPolaris<\/span><\/em><\/b><\/h1>\n

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

28 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_1695551237027{margin-bottom: 0px !important;}”]Keruntuhan ide-ide besar yang melanda dunia di penghujung abad 20 menyisakan ekses yang membalikkan dunia ke ranah pertarungan kepentingan yang tidak dibayangkan oleh tokoh Don Crisostomo Ibarra alias Simoun dalam dwilogi Noli-El fili gubahan Jose Rizal. Upaya-upaya dekolonisasi yang dilancarkan di berbagai negara pasca Perang Dunia II menemukan interupsi besar dalam prosesnya. Perang Dingin yang memecah belah negara bangsa dan kongsi-kongsi kawasan membuat semakin kentaranya struktur yang diwariskan oleh kolonialisme sejak lama dan modifikasinya yang mutakhir berbasis ekonomi kapital. Proyek infrastruktur terintegrasi dengan pembangunan jati diri bangsa yang diimpikan Rizal di akhir abad 19 menemui paradoks yang sama di masa penitian Jalur Sutra modern di abad 21.<\/span><\/p>\n

Obsesi terhadap proyek infrastruktur ini menjadi buntut industrialisasi tingkat lanjut yang menuntut negara-bangsa di wilayah Selatan untuk mengejar ketertinggalan. Misi produksi bahan mentah dan turisme masih menjadi garda depan perekonomian kawasan Selatan. Keduanya mengeksploitasi sumber daya besar tanpa memikirkan konsekuensi yang sudah dirasakan hari ini. Timbal baliknya dengan para adidaya membangunkan proyek-proyek mercusuar yang inter-kontinental dan antar-bintang. Penyematan gagasan-gagasan canggih atau ideologi dalam lalu lintas objek industrialisasi ini menunjukkan pada kita bahwa imajinasi bersama atas perkawanan global masih selalu terbentur perebutan supremasi. Warisan yang menghasilkan visual situs terbengkalai di sepanjang garisnya ini dihuni oleh arwah-arwah nenek moyang yang semakin kehilangan tempat untuk istirahat sehingga bergentayangan berkumpul menjadi hantu-hantu di zona-zona antara tersebut.<\/span><\/p>\n

Jalur sastra yang ditempuh Rizal merupakan strategi bermedianya yang canggih dalam membangun metafora atas situasi kontemporer yang sadar akan konstelasi kuasa Utara-Selatan maupun etnografi masyarakatnya. Kelindannya dengan aksi revolusioner di masa kemerdekaan Filipina menunjukkan kepekaan terhadap bangkitnya mobilisasi massa yang menggunakan bahasa dan imaji yang timbul darinya sebagai alat revolusi menyerang balik bahasa penguasa. Sinema, sebagai teknologi reproduksi mekanis, tak pelak memiliki potensi amplifikasi yang lebih besar karena sifatnya yang seolah-fakta. Bahasa montasenya senantiasa membenturkan persepsi akan tempat dan waktu, mengolah representasinya yang memuat lapisan-lapisan dimensi temporal yang berbeda\u2014arsip masa lalu, ambilan kamera, manipulasi efek digital\u2014menjadi hadir hari ini-di sini.<\/span><\/p>\n

Keempat filem dalam kuratorial ini menginvestigasi ingatan masa lampau yang memahat kenyataan publik hari ini di lokasinya masing-masing secara esaik. Dengan kesadaran penuh atas konstelasi kuasa di masa Perang Dingin, para sineas menenun reruntuhan, objek-objek dan narasi adiluhung hingga periferi yang bersirkulasi di seputar ide-ide besar politik kawasan. Fiksi-fiksi yang dibangun oleh kekuasaan dalam melegitimasi kebijakan-kebijakan luar negeri yang visioner nan ganjil, menjadi bahan kolase bagi para pembuat filem mengutarakan argumennya. Filem-filem ini dapat dilihat sebagai ikhtiar yang menuntut tanggung jawab rezim-rezim terdahulu dan juga yang masih berlangsung untuk mengevaluasi pembangunan utopia yang destruktif terhadap dimensi fisik dan mental dari alam dan kemanusiaan.<\/span><\/p>\n

Berangkat dari spekulasi atas variabel derajat terang bintang kutub yang mendasari kebijakan kolonialisme yang dipantik filem <\/span>Shokouk,<\/span><\/i> kita berdialektika dengan kebijakan ulang-alik negara adidaya antara mengubah bumi dengan eksplorasi luar angkasa. Narasi-narasi kecil, seperti gosip, lagu karaoke dan pseudo-biografi seorang tokoh, mengorbit Narasi Besar itu seperti benda-benda langit, yang walaupun kecil, akan mempengaruhi gravitasi wacana-wacana kebijakan. Di kutub lain, imaji <\/span>computer-generated<\/span><\/i> merealisasikan proyek arsitektur multidisiplin internasional di Yugoslavia yang mengubah \u00a0 sebuah tanjung menjadi wisma turis dan <\/span>melting pot<\/span><\/i> serba kosmopolit dalam <\/span>Imaginary Future Tourism.<\/span><\/i> Rekonstruksi ini menjadi refleksi atas utopia gagal yang dibangun dalam semangat perkawanan global. Yang tersisa darinya hanyalah remah-remah mosaik di tengah bebatuan yang menyisakan cita-cita bersama dari ambisi pembangunan yang menjawab tantangan Non-Blok.<\/span><\/p>\n

Remah-remah narasi dan objek sepele yang diwakili wig dalam <\/span>An Asian Ghost Story<\/span><\/i> memanggil kesaksian agensi <\/span>non-human<\/span><\/i> (baca: hantu) untuk menarasikan diaspora aksidental imbas perdagangan global dan perang ideologi. Pengadilan lintas-bahasa lain terjadi di atas taksi oleh seorang pembuat filem dan supir taksi yang menuntut tersangka, si Jenderal pendukung rezim otoriter, yang dengan gestur warisan kuasanya mendomestikasi manusia dan makhluk lainnya dalam peternakan-perkebunannya dalam <\/span>Taxibol<\/span><\/i>. Alur ini menjadi sebuah undangan untuk mengimajinasikan gugatan-gugatan yang dilancarkan kontemporer ini pada kebangkitan sebuah kutub yang dikira sudah ditumbangkan oleh kekuatan rakyat, namun kembali memegang tampuk kuasa.<\/span><\/p>\n

Lelucon\/<\/span>Farce<\/span><\/i> sebagai konstruksi dalam keempat filem esaik di sini menjadi pintu masuk untuk membedah keganjilan sejarah yang kerap berulang dan jatuh di lubang yang kurang lebih sama. Layaknya pertautan kisah cinta dalam konvensi sastra yaitu \u201c<\/span>star-crossed lover<\/span><\/i>\u201d yang memiliki arti literal \u201ckekasih yang tersilang bintang\u201d atau \u201cbernasib sial\/tak bisa bersatu\u201d sepanjang peradaban dalam Romeo-Julietnya Shakespeare, Crisostomo Ibarra-Maria Clara-nya Rizal, Minke-Annelies-nya Toer, mereka menjadi alegori jitu atas konflik kekuasaan dengan masyarakat. Keempat filem ini merupakan realisasi kontemporer dari hubungan demikian antara rezim dan publik dari sineas yang menyadari daya pengubah dari sinema, sekecil apa pun itu bisa menggeser kutub.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”Forewords” tab_id=”1695524701968-544f6ee4-7b25″][vc_column_text css=”.vc_custom_1695551290675{margin-bottom: 0px !important;}”]The collapse of Grand ideologies that hit the world at the end of the 20th century left behind excesses that turned the world into a realm of conflict of interests that was not imagined by Don Crisostomo Ibarra a.k.a Simoun in the Noli-El fili duology written by Jose Rizal. Decolonization efforts launched in various countries after World War II encountered major interruptions in the process. The Cold War, which divided nation states and regional alliances, made visible the structure inherited from colonialism for a long time and its latest modifications based on the capital economy. The infrastructure project ingrained with the development of national identity that Rizal dreamed of at the end of the 19th century encountered the same paradox during the development of the modern Silk Road in the 21st century.<\/span><\/p>\n

This obsession with infrastructure projects is the result of advanced industrialization which requires nation-states in the Southern region to catch up. The mission of raw material production and tourism is still at the forefront of the Southern region’s economy. Both exploited vast resources without thinking about the consequences that are felt today. Its reciprocity with the superpowers developed inter-continental and inter-stellar major projects. The embedding of sophisticated ideas or ideologies in the traffic of industrialized objects shows us that the shared imagination of global friendship is still always hampered by the struggle for supremacy. This legacy, which produces visuals of abandoned sites along its lines, is inhabited by the spirits of ancestors who are increasingly losing places to rest, thus making them wander around, gathering as ghosts in these twilight zones.<\/span><\/p>\n

The literary path that Rizal took was a sophisticated media strategy in building metaphors for contemporary situations that were aware of the North-South power constellation and the ethnography of its society. Its connection with revolutionary action during Philippine independence shows sensitivity to the rise of mass mobilization which uses language and the images that arise from it as a revolutionary tool to counter the language of the rulers. Cinema, as a technology of mechanical reproduction, inevitably has greater amplification potential due to its seemingly-factual nature. The language of montage always clashes perceptions of place and time, processing representations that contain layers of different temporal dimensions\u2014past archives, camera shots, manipulated digital effects\u2014to become present here and today.<\/span><\/p>\n

The four films in this curatorial investigate memories of the past that sculpt today’s public reality in their respective locations in an essayistic way. With full awareness of the power constellations during the Cold War, filmmakers weave ruins, objects and narratives from the periphery that circulate around the big ideas of regional politics. Fictions built by power to legitimize visionary and bizarre foreign policies have become collage material for these filmmakers to express their arguments. These films can be seen as efforts that demand responsibility from previous and ongoing regimes to evaluate the construction of utopias that are destructive to the physical and mental dimensions of nature and humanity.<\/span><\/p>\n

Starting from speculation on the variable degree of brightness of the polar star that underlies the policy of colonialism initiated by the film <\/span>Shokouk<\/span><\/i>, we enter into a dialectic with the superpower’s policy between changing the earth and exploring outer space. Small narratives, such as gossip, karaoke songs and pseudo-biographies of historical figures, orbit the Grand Narrative like celestial bodies, which, although small, will influence the gravity of policy discourses. At the other pole, computer-generated images visualize an international multidisciplinary architectural project in Yugoslavia that transforms a cape into a tourist guesthouse and a cosmopolitan melting pot in <\/span>Imaginary Future Tourism<\/span><\/i>. This reconstruction is a reflection of the failed utopia built in the spirit of global friendship. What is left of it are only mosaic crumbs amidst the stones that left the shared ideals of development ambitions that answer the challenges of Non-Alignment Power.<\/span><\/p>\n

The fragments of narrative and trivial objects represented by wigs in<\/span> An Asian Ghost Story <\/span><\/i>summon the testimony of non-human agency (read: ghosts) to narrate the accidental diaspora resulting from global trade and ideological war. Another cross-language trial takes place in a taxi by a filmmaker and a taxi driver who prosecute the accused, a General who supports an authoritarian regime, who in a gesture of inherited power domesticates humans and other creatures on his farms in Taxibol. This plot becomes an invitation to imagine the challenges launched by contemporary society regarding the rise of a pole that was thought to have been overthrown by the people power, but which has returned to the reins of power.<\/span><\/p>\n

Farce as a construction in these four essay films becomes an entry point to dissect historical oddities that often repeat themselves and fall into more or less the same holes. Like the entangling love stories in literary conventions, namely “star-crossed lover” which has the meaning of “unlucky\/unable to be together” throughout civilization in Shakespeare’s Romeo-Juliet, Rizal’s Crisostomo Ibarra-Maria Clara, Toer’s Minke-Annelies, it is an on-point allegory of the conflict between power and society. These four films are contemporary realizations of such a relationship between the regime and the public from filmmakers who are aware of the transformative power of cinema, no matter how small it can shift the poles.<\/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=”11889″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695551483405{margin-bottom: 0px !important;}”]\n

Shokouk<\/b><\/h2>\n

Filmmaker <\/em>Rouzbeh Akhbari, Felix Kalmenson
\n<\/strong>Country of Production<\/em> Uzbekistan, Canada
\n<\/strong>Language<\/em> Kazakh, Mandarin Chinese, Russian, Uzbek, English
\n<\/strong>Subtitle<\/em>\u00a0English<\/strong><\/p>\n

18 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_1695551502399{margin-bottom: 0px !important;}”]Dalam empat babak, Shokouk secara komedik menggambarkan keterkaitan sejarah ilmu pengetahuan, proyek infrastruktur, <\/span>space race<\/span><\/i> dan jalur sutra kontemporer. Narasi-narasi kecil, seperti gosip, lagu karaoke dan pseudo-biografi seorang tokoh, mengorbit Narasi Besar itu seperti benda-benda langit, yang walaupun kecil, akan mempengaruhi gravitasi wacana-wacana kebijakan.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695551517189{margin-bottom: 0px !important;}”]In four acts, Shokouk comically depicts the connection between the history of science, infrastructure projects, the space race and the contemporary Silk Road. Small narratives, such as gossip, karaoke songs and pseudo-biographies of historical figure, orbit the Big Narrative like celestial bodies, which, although small, will influence the gravity of policy discourses.<\/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=”12065″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695551584478{margin-bottom: 0px !important;}”]Rouzbeh Akhbari (Teheran, Iran, 1992) dan Felix Kalmenson (Saint Petersburg, Rusia, 1987). Film-film mereka telah diputar di berbagai festival film internasional termasuk di S\u00e3o Paulo International Film Festival, Doclisboa, Sharjah Film Platform, dan Kasseler Dokfest, dan memenangkan berbagai penghargaan, termasuk Prix George di Internationale Kurzfilmtage Winterthur, 2020.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695551597503{margin-bottom: 0px !important;}”]Rouzbeh Akhbari (Tehran, Iran, 1992) and Felix Kalmenson (Saint Petersburg, Russia, 1987). Their films have screened in numerous international film festivals including at S\u00e3o Paulo International Film Festival, Doclisboa, Sharjah Film Platform, and Kasseler Dokfest, winning awards including the Prix George at Internationale Kurzfilmtage Winterthur, 2020. <\/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=”11890″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695551725375{margin-bottom: 0px !important;}”]\n

Taxibol<\/h2>\n

Filmmaker <\/em>Tommaso Santambrogio<\/strong>
\n<\/strong>Country of Production<\/em> Cuba, Italy
\n<\/strong>Language<\/em> Spanish, English
\n<\/strong>Subtitle<\/em> English<\/strong><\/p>\n

50 min, Stereo, Black and White,\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_1695551750834{margin-bottom: 0px !important;}”]Sebuah percakapan lumrah lintas-bahasa berlangsung di atas taksi di Kuba berubah menjadi kerja sama internasional untuk membawa penjahat rezim kepada keadilan. Bak pemaparan bukti-bukti, sinema menggambarkan hari-hari tua si tersangka sebagai pekebun dan peternak di Kuba. Dengan gestur warisan kuasanya yang mendomestikasi manusia dan makhluk lainnya dalam peternakan-perkebunannya, kita dihadapkan pada apa yang tersisa dari kediktatoran dan potensi kebangkitannya.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695551783087{margin-bottom: 0px !important;}”]A seemingly ordinary occurrence of a cross-language conversation in a Cuban taxi turns into an international cooperation to bring criminals of the regime to justice. In the same manner of presenting evidence, the cinema depicts the suspect\u2019s later days as a planter and rancher. With the very gesture of his legacy \u2014 domesticating humans and other creatures on his plantation \u2013 we are faced with what remains of the dictatorship and the potential for its revival.<\/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=”12066″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695551814116{margin-bottom: 0px !important;}”]Tommaso Santambrogio (1992) adalah sineas dan penulis asal Italia yang pernah tinggal dan belajar di Milan, Paris, Roma, dan Havana. Ia telah berkolaborasi dengan sutradara terkenal seperti Werner Herzog dan Lav Diaz. Film pendeknya baru-baru ini, “The Last Scene” dan “The Oceans Are the Real Continents”, keduanya dipamerkan di Mostra Internazionale del Cinema di Venezia dan berbagai festival bergengsi lainnya di seluruh dunia. Karya pendek terbarunya adalah “L’Ultimo Spegne la Luce” (2021).<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695551831391{margin-bottom: 0px !important;}”]Tommaso Santambrogio (1992) is an Italian filmmaker and writer who has lived and studied in Milan, Paris, Rome, and Havana. He has collaborated with renowned directors such as Werner Herzog and Lav Diaz. His recent short films, “The Last Scene” and “The Oceans Are the Real Continents,” were both showcased at the Mostra Internazionale del Cinema di Venezia and numerous other prestigious festivals worldwide. His latest short work is “L’Ultimo Spegne la Luce” (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=”1695544428562-7b839c4a-e700″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11896″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695551998192{margin-bottom: 0px !important;}”]\n

Imaginary Futures: Tourism<\/h2>\n

Filmmaker <\/em>Darko Fritz<\/strong>
\n<\/em>Country of Production<\/em> Croatia<\/strong>
\n<\/span>Language<\/em> Croatian<\/strong>
\nSubtitle<\/em> English<\/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_1695552023803{margin-bottom: 0px !important;}”]Imaji <\/span>computer-generated<\/span><\/i>, dalam filem ini yaitu osiloskop dan 3D <\/span>imaging<\/span><\/i>, merealisasikan proyek arsitektur multidisiplin internasional di Yugoslavia yang mengubah\u00a0 sebuah tanjung menjadi wisma turis dan <\/span>melting pot<\/span><\/i> serba kosmopolit. Filem ini menjadi refleksi atas utopia gagal yang dibangun dalam semangat perkawanan global dalam ambisi pembangunan yang menjawab tantangan Non-Blok.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695552044683{margin-bottom: 0px !important;}”]Computer-generated images, oscilloscopes and 3D imaging, visualize an international multidisciplinary architectural project in Yugoslavia that transformed a cape into a tourist guest house and a cosmopolitan melting pot. This film is a reflection of a failed utopia built in the spirit of global friendship towards development ambitions that answered the challenges of Non-Alignment power.<\/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=”12069″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695552115981{margin-bottom: 0px !important;}”]Darko Fritz, seniman, kurator, dan peneliti, mengeksplorasi peran teknologi dalam budaya sejak akhir tahun 80-an. Ia mendapatkan pengakuan internasional karena menjadi kurator New Tendencies dan pameran seni digital awal. Fritz juga menyunting “Media Art in Croatia” dan menerima hibah dari Mondriaan Foundation untuk penelitiannya tentang seni digital awal di Belanda. Dia mendirikan dan memprogramkan grey) (area, sebuah ruang seni kontemporer dan media sejak tahun 2006.\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695552129071{margin-bottom: 0px !important;}”]Darko Fritz, artist, curator, and researcher, explores technology’s role in culture since the late ’80s. He gained international recognition for curating New Tendencies and early digital art exhibitions. Fritz also edited “Media Art in Croatia” and received a grant from the Mondriaan Foundation for his research on early digital arts in the Netherlands. He founded and programs grey) (area, a contemporary and media art space since 2006.\u00a0<\/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=”1695552062218-9d06e099-ec83″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”11856″ img_size=”480 x 240″][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695552261105{margin-bottom: 0px !important;}”]\n

An Asian Ghost Story<\/h2>\n

Filmmaker <\/em>Bo Wang<\/strong>
\n<\/em>Country of Production<\/em> Netherlands, Hong Kong, China<\/strong>
\n<\/span>Language<\/em> English, Cantonese<\/strong>
\nSubtitle<\/em> English<\/strong><\/p>\n

37 min, Stereo, Black & White & 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_1695552283177{margin-bottom: 0px !important;}”]Filem esai yang berangkat dari investigasi wig, kerja dan kaitannya dengan kebijakan geopolitik masa Perang Dingin. Konteks perkembangan teknologi media disadari oleh sineas yang memanggil kesaksian agensi <\/span>non-human<\/span><\/i> (baca: hantu) untuk menarasikan diaspora aksidental imbas perdagangan global dan perang ideologi.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1695552304163{margin-bottom: 0px !important;}”]An essay film that stems from an investigation into wigs, labor, and their relationship to geo-political policies during the Cold War. The context in which the media technology developed is recognized by filmmakers who call on the testimony of non-human agencies (i.e. ghosts) to narrate the accidental diaspora resulting from global trade and ideological war.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1695552062452-a7b9a144-ae7b”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12071″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695552367646{margin-bottom: 0px !important;}”]Bo Wang adalah seorang seniman, pembuat film, dan peneliti yang tinggal di Amsterdam. Karyanya telah dipamerkan secara internasional, di berbagai institusi ternama seperti Museum Guggenheim dan Museum of Modern Art (New York), Garage Museum (Moskow), dan berbagai festival film termasuk International Film Festival Rotterdam, Image Forum Festival (Tokyo), dan Visions du R\u00e9el (Nyon, Swiss). Filmnya “An Asian Ghost Story” meraih penghargaan New:Vision 2023 di CPH:DOX.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1695552379387{margin-bottom: 0px !important;}”]Bo Wang is an artist, filmmaker, and researcher based in Amsterdam. His work has been showcased internationally, at renowned institutions such as the Guggenheim Museum and the Museum of Modern Art (New York), Garage Museum (Moscow), and various film festivals including the International Film Festival Rotterdam, Image Forum Festival (Tokyo), and Visions du R\u00e9el (Nyon, Switzerland). His film “An Asian Ghost Story” earned the 2023 New:Vision award at CPH:DOX. <\/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_1695552444595{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_1695552463931{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":"

Farce as a construction in these four essay films becomes an entry point to dissect historical oddities that often repeat themselves and fall into more or less the same holes. Like the entangling love stories in literary conventions, namely “star-crossed lover” which has the meaning of “unlucky\/unable to be together” throughout civilization in Shakespeare’s Romeo-Juliet, Rizal’s Crisostomo Ibarra-Maria Clara, Toer’s Minke-Annelies, it is an on-point allegory of the conflict between power and society. These four films are contemporary realizations of such a relationship between the regime and the public from filmmakers who are aware of the transformative power of cinema, no matter how small it can shift the poles.<\/p>\n","protected":false},"author":1,"featured_media":11890,"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 7 — ARKIPEL<\/title>\n<meta name=\"description\" content=\"Farce as a construction in these four essay films becomes an entry point to dissect historical oddities that often repeat themselves and fall into more or less the same holes. 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