{"id":12205,"date":"2023-09-29T20:38:05","date_gmt":"2023-09-29T13:38:05","guid":{"rendered":"https:\/\/arkipel.org\/?p=12205"},"modified":"2023-09-29T20:39:48","modified_gmt":"2023-09-29T13:39:48","slug":"ic-05-noli-me-tangere","status":"publish","type":"post","link":"https:\/\/arkipel.org\/ic-05-noli-me-tangere\/","title":{"rendered":"International Competition 05: Dismantling Historical Legacy Through Visual Subversion"},"content":{"rendered":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Kompetisi Internasional 05: Melucuti Warisan Sejarah Melalui Subversi Visual” css=”.vc_custom_1695994358733{margin-bottom: 0px !important;}”]Hari keempat ARKIPEL <\/span>Noli Me Tangere \u2013 10th Jakarta International Documentary and Experimental Film Festival<\/span><\/i> dimulai dengan penayangan filem-filem dalam kuratorial bertajuk <\/span>Rekonstruksi Para Filibuster<\/span><\/i> oleh <\/span>Luthfan Nur Rochman<\/b> selaku kurator. Sinema, menurut Luthfan,<\/span> bukan lagi hanya berkutat pada reproduksi realita, medium cerita, atau peraup keuntungan, namun bagaimana ia menyajikan sebuah tegangan etis antara subjek di depan dan di belakang kamera serta relasinya dengan konteks luarannya. Sinema menjadi strategi para filibuster, para pemberontak, yang berusaha mengacak-acak warisan sejarah yang selama ini dipenuhi pandangan dunia Barat dan kemudian merekonstruksi persepsi tersebut kembali ke wujud aslinya. Melalui\u00a0 <\/span>Maltournee<\/span><\/i>,\u00a0 <\/span>Otro Sol, <\/span><\/i>dan <\/span>Ingresso Animali Vivi<\/span><\/i> para filibuster membawa kita ke situs yang memuat trauma, baik trauma sejarah maupun trauma masa kini untuk membahas persoalan-persoalan publik tertentu.<\/span><\/p>\n

Filibuster pertama adalah <\/span>Pooya Abassian. <\/b>Melalui karyanya yang berjudul <\/span>Maltournee<\/span><\/i> ia menyampaikan persoalan yang sedang terjadi di Prancis, sebuah krisis diaspora.<\/span> Bagaimana para imigran yang tercerabut dari negara asalnya, Afrika Utara & Timur Tengah, diperlakukan oleh birokrasi negara suakanya, Prancis. Ia memantik persoalan ini tidak melalui dialog wawancara yang berlarut-larut namun dengan langsung menempatkan penonton ke lokasi di mana pernah terjadinya kekerasan dan penggusuran terhadap para imigran. Bagaimana melalui kanal-kanal St. Denis kita bisa melihat jejak-jejak kehidupan yang tidak lagi terpampang di layar, paralel dengan apa yang dialami para imigran dengan negara asalnya.\u00a0<\/span><\/p>\n

Filibuster selanjutnya adalah <\/span>Francisco Rodriguez Teare<\/b>, yang menggunakan pencarian dan pencurian emas dalam filemnya, <\/span>Otro Sol,<\/span><\/i> untuk mengupas praktik kolonialisme Spanyol di Chili. <\/span>Francisco Rodriguez Teare<\/span> merekonstruksi ulang warisan sejarah Chili dengan<\/span> mencampurkan\u00a0 fiksi, realita, dan dokumen persidangan kasus pencurian Cathedral Cadiz di Spanyol oleh <\/span>Alberto C\u00e1ndia, pencuri internasional asal Chili. Sosok Alberto C\u00e1ndia seakan menjadi perwakilan bangsa Chili membalas dendam kepada Spanyol, yang dulu meraup emas dari tanahnya dan kemudian dijadikan perangkat keagamaan di gereja-gereja Spanyol.\u00a0<\/span><\/p>\n

Sesi ini ditutup dengan penayangan filem <\/span>Ingresso Animali Vivi<\/span><\/i> karya <\/span>Igor Grubic, <\/b>yang mengajak penonton memikirkan ulang relasi manusia dengan non-manusia lewat latar kompleks industrial. Ia membawa kita tur ke sebuah situs penjagalan hewan di Perbatasan Italia dan Balkan. Tur ini ditemani sosok pemandu berupa anjing yang menjadi mata penonton menginspeksi ruang-ruang kosong pabrik. Ruang-ruang tersebut dijukstaposisi dengan suguhan visual buatan komputer yang menampilkan skema penjagalan hewan-hewan ternak: kesenyapan ruang kosong dengan kebisingan alat-alat jagal, anjing yang berkeliaran bebas dengan sapi virtual terkungkung ban berjalan, dan hewan yang bernafas damai dengan imaji ternak-ternak yang sedang dicabut nyawanya.\u00a0<\/span><\/p>\n

Ketiga sineas filibuster ini di situs mereka masing-masing merekonstruksi persepsi kita akan persoalan-persoalan sosial-politik lewat investigasi puitis. Oleh mereka, citra visual situs ditransformasi menjadi sebuah rasa. Dengan cara apalagi yang lebih efektif melucuti seseorang, untuk membangkitkan rasa kemanusiaannya, jika bukan lewat emosi dan hati mereka.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1672356843702-2655322e-0974″][vc_column_text title=”International Competition 05: Dismantling Historical Legacy Through Visual Subversion” css=”.vc_custom_1695994624181{margin-bottom: 0px !important;}”]The fourth day of <\/span>ARKIPEL, Noli Me Tangere \u2013 10th Jakarta International Documentary and Experimental Film Festival<\/span><\/i> began with the screening of a curatorial entitled <\/span>Reconstruction of the Filibusters<\/span><\/i> by <\/span>Luthfan Nur Rochan<\/b>. Cinema, according to Luthfan, is no longer just concerned with the reproduction of reality, the medium of stories, or making profits, but how it presents an ethical tension between the subject in front of and behind the camera and their relationship with the external context. Cinema has become a strategy for filibusters, rebels, who try to disrupt the historical legacy that has been filled with Western worldviews and then reconstruct these perceptions back to their original form. Through <\/span>Maltournee<\/span><\/i>, <\/span>Otro Sol<\/span><\/i>, and <\/span>Ingresso Animali Vivi<\/span><\/i>, the filibusters take us to sites that contain trauma, both historical trauma and current trauma, to discuss certain public issues.<\/span><\/p>\n

The first filibuster is <\/span>Pooya Abassian<\/b>. Through his work entitled <\/span>Maltournee<\/span><\/i> he conveys the problems currently occurring in France, a diaspora crisis. How immigrants uprooted from their countries of origin, North Africa & the Middle East, are treated by the bureaucracy of their country of asylum, France. He raises this issue not through protracted interviews but by directly placing the audience in locations where violence and evictions of immigrants have occurred. Through the canals of St. Denis we can see traces of life that are not displayed on the screen in the present, parallel to what immigrants experienced with their home country.<\/span><\/p>\n

The next filibuster was <\/span>Francisco Rodriguez Teare<\/b>, who used the search and theft of gold in his film, <\/span>Otro Sol<\/span><\/i>, to examine the practices of Spanish colonialism in Chile. <\/span>Francisco Rodriguez Teare <\/b>reconstructs Chile’s historical heritage by mixing fiction, reality, and trial documents regarding the theft of Cadiz Cathedral in Spain by Alberto C\u00e1ndia, an international thief from Chile. The figure of Alberto C\u00e1ndia seems to be a representative of the Chilean nation seeking revenge against Spain, which used to extract gold from its land and then use it as a religious instrument in Spanish churches.<\/span><\/p>\n

This session closed with a screening of the film <\/span>Ingresso Animali Vivi<\/span><\/i> by <\/span>Igor Grubic,<\/b> which invited the audience to rethink human and non-human relations against the backdrop of an industrial complex. He takes us on a tour of an animal slaughter site on the Italian and Balkan Border. This tour is accompanied by a guide in the form of a dog who becomes the audience’s eyes inspecting the empty rooms of the factory. These spaces are juxtaposed with computer-generated visuals showing schemes of slaughtered farm animals: the silence of an empty room with the noise of butchery tools,\u00a0 dog roaming free with virtual cows confined to a conveyor belt, and animals that breathe peacefully with images of livestock being killed.<\/span><\/p>\n

These three filibuster filmmakers on their respective sites reconstruct our perception of socio-political problems through poetic investigations. For them, the visual image of the site is transformed into a feeling. What more effective way to disarm someone, to evoke a sense of humanity, if not through their heart and emotions.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”12207,12208,12209″ img_size=”full”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Kompetisi Internasional 05: Melucuti Warisan Sejarah Melalui Subversi Visual” css=”.vc_custom_1695994358733{margin-bottom: 0px !important;}”]Hari keempat ARKIPEL Noli Me Tangere \u2013 10th Jakarta International Documentary and Experimental Film Festival dimulai dengan penayangan filem-filem dalam kuratorial bertajuk Rekonstruksi Para Filibuster oleh Luthfan Nur Rochman selaku kurator. Sinema, menurut Luthfan, bukan lagi hanya berkutat pada reproduksi […]<\/p>\n","protected":false},"author":171,"featured_media":12207,"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":[658,384,1,344],"tags":[652,653],"class_list":["post-12205","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arkipel-2023-noli-me-tangere-2","category-festival-stories","category-festival-updates","category-international-competition-program","tag-652","tag-noli-me-tangere"],"jetpack_publicize_connections":[],"yoast_head":"\nInternational Competition 05: Dismantling Historical Legacy Through Visual Subversion — ARKIPEL<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arkipel.org\/ic-05-noli-me-tangere\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"International Competition 05: Dismantling Historical Legacy Through Visual Subversion — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Kompetisi Internasional 05: Melucuti Warisan Sejarah Melalui Subversi Visual” css=”.vc_custom_1695994358733{margin-bottom: 0px !important;}”]Hari keempat ARKIPEL Noli Me Tangere \u2013 10th Jakarta International Documentary and Experimental Film Festival dimulai dengan penayangan filem-filem dalam kuratorial bertajuk Rekonstruksi Para Filibuster oleh Luthfan Nur Rochman selaku kurator. 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