{"id":12229,"date":"2023-10-01T14:57:31","date_gmt":"2023-10-01T07:57:31","guid":{"rendered":"https:\/\/arkipel.org\/?p=12229"},"modified":"2023-10-01T14:57:31","modified_gmt":"2023-10-01T07:57:31","slug":"ic-08-noli-me-tangere","status":"publish","type":"post","link":"https:\/\/arkipel.org\/ic-08-noli-me-tangere\/","title":{"rendered":"International Competition 08: The Clash of Old and New"},"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 08: Benturan Hal Lama dan Hal Baru” css=”.vc_custom_1696146494168{margin-bottom: 0px !important;}”]Dini Adanurani<\/b> membuka pemutaran dengan memaparkan bagaimana kamera menjadi anak emas modernisme dengan kecanggihannya dalam menciptakan citra-citra, namun hal tersebut tidak akan lepas kaitannya dengan sang pemegang kamera, siapa yang melihat dan apa yang dilihat menjadi signifikan ketika kita bicara perihal filem. Pemutaran yang diselenggarakan pada tanggal 28 September 2023 ini berjalan dengan lancar dan khusyuk, mungkin kata \u201ckhusyuk\u201d agak membingungkan, tapi saya bisa bilang begitu karena keempat filem yang ditayangkan yaitu <\/span>Jaime\u2019s House <\/span><\/i>(2021), <\/span>Beigu Islet <\/span><\/i>(2022), <\/span>Density of Emptiness <\/span><\/i>(2023), dan <\/span>Algorithms of Beauty <\/span><\/i>(2022) memiliki suasana dan ritme yang tenang dan tidak terburu-buru, sehingga saya rasa penonton dapat merasakan ketenangan yang dihadirkan lewat keempat filem tersebut.<\/span><\/p>\n

Jaime\u2019s House <\/span><\/i>karya <\/span>Marie Gavois<\/b> dan <\/span>Michel <\/b>Kl\u00f6fkorn<\/b> membuat saya mempertanyakan lagi bagaimana naluri entitas non-manusia dalam bergerak, dalam hal ini kawanan domba-domba yang digiring oleh seekor anjing. Reaksi para domba tersebut terhadap rumah merupakan aksi yang menarik, karena rumah yang dihadirkan di layar bukanlah rumah seutuhnya rumah, namun sebuah cetakan yang menggambarkan sebuah rumah. Saya melihat bagaimana niatan sutradara dalam membenturkan dua aspek yang berkontradiksi di sini, para domba yang mewakilkan makhluk hidup disandingkan dengan teknologi: rumah dan beberapa teknik editing yang dibuat sutradara. Benturan ini menghasilkan pertanyaan baru terhadap bagaimana aksi dan reaksi makhluk hidup terhadap teknologi yang selalu berkembang. Di jaman ini, seolah-olah manusia adalah sekumpulan domba yang selalu dihantam oleh teknologi yang selalu berkembang, dan secara naluri pun, kita selalu berusaha beradaptasi dengan percepatan perkembangan teknologi tersebut.<\/span><\/p>\n

Ketika menonton<\/span> Beigu Islet <\/span><\/i>karya <\/span>Hsin-Yu Chen<\/b>, saya agak kesulitan memahami apa tujuan dari filem ini dibuat, karena visual yang dihadirkan hanya menampilkan lanskap-lanskap yang saya asumsikan menangkap pemandangan sebuah pulau dan sekitarnya, penjelasan baru dihadirkan di bagian akhir filem. Secara teknis, bagi saya filem ini tidak cukup kuat untuk mengangkat peristiwa yang diharapkan sutradara ditangkap para penonton untuk mewacanakan peristiwa tersebut lebih lanjut, kendati demikian, filem ini tetap cocok untuk dimasukkan ke dalam kuratorial kali ini, karena tangkapan kamera sang sutradara di sini memiliki kesan merelakan kepada \u201cYang Lain\u201d, yaitu kepada para lanskap dan membiarkan penonton berimajinasi.\u00a0<\/span><\/p>\n

Pada <\/span>Density of Emptiness<\/span><\/i> karya <\/span>Shirin Barghnavard<\/b>, penonton dihadapkan pada lanskap gedung-gedung yang kemudian berfokus pada visual interior sebuah apartemen yang kosong. Menurut saya, visual yang dihadirkan dalam filem ini sangatlah kuat, karena sutradara secara tenang\u00a0 dan imajinatif dapat mengajak kita berbicara perihal persoalan hunian dalam kota yang menjadi keresahan di jaman bonus demografi ini. Di sini mata kamera fokus dalam menangkap objek-objek benda mati yang dirangkai secara hati-hati sehingga kita benar-benar merasakan nihilnya jiwa pada objek-objek yang disorot.<\/span><\/p>\n

Algorithms of Beauty<\/span><\/i> karya <\/span>Mil\u00e9na Trivier<\/b> mencoba memaknai ulang objek-objek berupa tumbuhan dengan bantuan <\/span>Artificial Intelligence<\/span><\/i>, sang karakter utama menyandingkan usahanya dengan karya-karya dari <\/span>Mary Delany<\/b>, seorang seniman dan botanis yang mengkolasekan kertas-kertas menjadi sebuah tanaman. Dalam usahanya mencari representasi terbaru untuk menemukan kembali sifat auratik tanaman dalam alat lain, yaitu AI, sepertinya AI di sini diperlihatkan terlalu naif, dengan wujudnya yang menyerupai robot terkesan terlalu mensimplifikasi makna dari AI<\/span> itu sendiri. Namun filem ini sekiranya tepat jika ditaruh di akhir program, dengan bantuan narasi yang dominan, kita dapat mengambil garis besar terhadap ketiga filem sebelumnya, yaitu bagaimana keempat filem ini berbicara mengenai benturan dari yang baru terhadap yang lama, dan hal itu bermuara kepada tema program ini, \u201cCitra dan Yang Lain\u201d.<\/span><\/p>\n

Kehadiran teknologi kamera membuat representasi citra menjadi lebih luas jangkauannya, perspektif sang pembuat di sini menjadi sangat penting untuk ditinjau karena hasil citra di keempat filem ini sangatlah imajinatif, kecuali pada filem <\/span>Algorithms of Beauty, <\/span><\/i>yang memang terbantu dengan narasi dan visual yang cukup menuntun. Kita dapat mengetahui tujuan sang pembuat lewat bagaimana kamera ditaruh, dan bagaimana citra-citra yang dihadirkan disusun dengan keunikan masing-masing pembuat. Keempat filem yang dihadirkan menyuguhkan benturan-benturan citra yang lama dan yang baru, juga pemikiran lama dan yang baru.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1672356843702-2655322e-0974″][vc_column_text title=”International Competition 08: The Clash of Old and New” css=”.vc_custom_1696146515424{margin-bottom: 0px !important;}”]Dini Adanurani<\/b> began the screening by explaining how the camera became the golden child of modernism with its ability to create images, but this will not be separated from the camera holder, who sees and what is seen becomes significant when we talk about film. The screening held on September 28, 2023 went smoothly and dedicatedly, maybe the word “dedicated” is a bit confusing, but I can say that because the four films shown, <\/span>Jaime’s House<\/span><\/i> (2021), <\/span>Beigu Islet<\/span><\/i> (2022), <\/span>Density of Emptiness<\/span><\/i> (2023), and <\/span>Algorithms of Beauty<\/span><\/i> (2022) have an atmosphere and rhythm that is calm and unhurried, so I think the audience can feel the calmness presented through the four films.<\/span><\/p>\n

Marie Gavois<\/b> and <\/span>Michel Kl\u00f6fkorn<\/b>‘s <\/span>Jaime’s House<\/span><\/i> made me question the instincts of non-human entities in movement, in this case a group of sheep led by a dog. The reaction of these sheep to the house is an interesting action, because the house presented on the screen is not really a house, but a mold that depicts a house. I see how the director’s intention is to clash two contradictory aspects here, the sheep representing living beings juxtaposed with technology: the house and some editing techniques made by the director. This clash raises new questions about how living beings act and react to ever-evolving technology. In this era, it is as if humans are a bunch of sheep that are always being hit by ever-evolving technology, and instinctively, we always try to adapt to the acceleration of technological development.<\/span><\/p>\n

When watching <\/span>Hsin-Yu Chen<\/b>‘s <\/span>Beigu Islet<\/span><\/i>, I had some difficulty understanding what the purpose of this film was, because the visuals presented only showed landscapes that I assumed captured the view of an island and its surroundings, a further explanation was only presented at the end of the film. Technically, for me this film is not strong enough to elevate the events that the director hopes to capture for the audience to discuss the events further, however, this film is still suitable to be included in this curatorial, because the director’s camera shots here have the impression of letting go of the “The Other”, namely the landscapes and letting the audience imagine.\u00a0<\/span><\/p>\n

In <\/span>Shirin Barghnavard<\/b>‘s <\/span>Density of Emptiness<\/span><\/i>, the audience is confronted with a landscape of buildings that then focuses on the interior visuals of an empty apartment. In my opinion, the visuals presented in this film are very strong, because the director can calmly and imaginatively invite us to talk about the issue of housing in the city, which is a concern in this demographic bonus era. Here the camera eye focuses on capturing inanimate objects that are carefully assembled so that we really feel the absence of soul in the objects captured.<\/span><\/p>\n

Mil\u00e9na Trivier<\/b>‘s Algorithms of Beauty attempts to reinterpret plants with the help of artificial intelligence, the main character juxtaposing with the works of Mary Delany, an artist and botanist who collages papers into plants. In trying to find the latest representation to rediscover the auratic nature of plants in another tool, which is AI, it seems that AI here is shown too naively, with its robot-like form seeming to over-simplify the meaning of AI itself. However, this film is appropriate to be placed at the end of the program, with the help of the dominant narrative, we can take an outline of the previous three films, which is how these four films talk about the clash of the new against the old, and it boils down to the theme of this program, <\/span>Image and the Other<\/span><\/i>.<\/span><\/p>\n

The presence of camera technology makes the representation of images more widely accessible, the perspective of the creator here becomes very important to review because the images in these four films are very imaginative, except for the <\/span>Algorithms of Beauty<\/span><\/i>, which is indeed helped by a fairly guiding narrative and visuals. We can tell the intention of the filmmaker through how the camera is placed, and how the images presented are composed with the uniqueness of each filmmaker. The four films presented present the clash of old and new images, as well as old and new thinking.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”12231,12232,12233,12234″ img_size=”full”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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[…]<\/p>\n","protected":false},"author":169,"featured_media":12233,"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],"jetpack_publicize_connections":[],"yoast_head":"\nInternational Competition 08: The Clash of Old and New — 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-08-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 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