{"id":12556,"date":"2024-08-25T10:20:08","date_gmt":"2024-08-25T03:20:08","guid":{"rendered":"https:\/\/arkipel.org\/?p=12556"},"modified":"2024-08-25T10:43:55","modified_gmt":"2024-08-25T03:43:55","slug":"2024ic10-gaya-diagonal","status":"publish","type":"post","link":"https:\/\/arkipel.org\/2024ic10-gaya-diagonal\/","title":{"rendered":"International Competition 1 – Gaya Diagonal"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1724234576675{margin-bottom: 0px !important;}”]\n

Gaya Diagonal
\n<\/b>The Diagonal Force<\/b><\/em><\/h1>\n

<\/h1>\n

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

Tuesday, August 27, 2024 | 13:00 | Bioskopforlen<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1724224855869{margin-bottom: 0px !important;}”]Dalam Sejarah Dunia yang dikanonisasi Barat, artikulasi mengenai konflik Eropa, dengan segala perangkat sistem yang lahir darinya, berujung pada perubahan struktur \u201cglobal\u201d perdamaian. Meski konflik terus berulang, baik sejak traktat Westphalia di abad 17 hingga kelahiran Perserikatan Bangsa-bangsa setelah dua Perang Dunia, pembicaraan terkait ekses-eksesnya yang menjadi ranah dari akademik, seni, maupun praksis bantuan kemanusiaan masih selalu berbenturan dengan praksis kebijakan di ranah negara-bangsa. Garis-garis negara bangsa yang ditarik dengan kesadaran resolusi konflik-konflik besar tersebut tidak bebas dari modifikasi Perang Dingin para Adidaya yang bergulat lihai mengelola konflik berbasis pola-pola horizontal di masyarakat \u201cperiferal\u201d dan revolusi kerja teknologi media. Maka trauma-trauma konflik yang menghantui manusia secara durasional menumpuk menjadi palimpsest<\/i> (naskah bertumpuk) di tubuh individu-individu, tidak jarang memunculkan gangguan psikosomatis yang membuat indera-indera bekerja dengan nanar.<\/p>\n

 <\/p>\n

Disorientasi indera-indera dalam trauma konflik itu menjadi gerak abadi antar generasi yang terus menerus dibicarakan untuk mencari pemecah pamungkasnya. Ilmu filsafat dan sosial berkembang untuk menavigasikan hasrat-hasrat kuasa, dominasi, dan xenofobia, yang inheren dalam kekerasan sistemis kolonialisme, perdagangan budak Trans-Atlantic, berkuasanya fasisme, hingga praktik perawatan konflik (warmongering<\/i>) di berbagai lokasi. Spekulasi Hannah Arendt dalam membaca dilema modernisme Franz Kafka yang dikutip dalam filem La Force Diagonale<\/i> mengajak kita mengimajinasikan laju konflik dalam hukum fisika. Gaya (force<\/i>) atau kekuatan besar konflik masa lalu dan ketidakpastian masa depan dapat kita bayangkan sebagai garis-garis yang bekerja pada manusia. Hukum Parallelogram (jajaran genjang) Gaya dibangun dengan visualisasi jajaran genjang di mana ketika garis satu bertabrakan dengan garis lainnya, maka garis ketiga berbentuk diagonal muncul sebagai resultan atau \u201chasil\u201d tabrakan kedua garis tersebut. Garis diagonal atau Gaya diagonal inilah yang beresonansi terus hingga waktu yang tidak ditentukan yang dapat diimajinasikan sebagai kekuatan pemikiran yang reflektif dan basis manusia untuk melakukan tindakan atas tabrakan dua garis ini. Aksi berpikir manusia ini semakin dapat dimaterialisasi seiring kita meninggalkan basis-basis kuno peradaban manusia yang tak menyisakan waktu pada manusia untuk berpikir. Sehingga aksi berpikir reflektif ini menemukan relevansi politisnya dalam materialitas waktu.<\/p>\n

 <\/p>\n

Aksi atau gerak berpikir yang dipikirkan oleh Arendt menemukan sintesisnya yang baru di masa belokan geologis hari-hari ini dalam wacana ilmu sosial. Wacana ini membingkai manusia sebagai kekuatan pengubah geologi dan atmosfer dengan kerja produksi dan konsumsi yang cepat pasca-Revolusi Industri melampaui kerja geologis bumi sendiri. Menjukstaposisi \u201cperadaban\u201d manusia yang baru berlangsung paling banter 10.000 tahun sejak kemunculan organisasi sosial kompleks dengan 4,5 miliar tahun usia bumi, membawa proyeksi baru dalam menavigasi pengalaman durasi. Bagaimana manusia menggeser ego supremasinya ke renungan terhadap agensi non-manusia yang lebih banyak mengonstruksi perjalanan bersama di atas bumi. Menempatkan diri kita dalam kerangka waktu geologis berarti membayangkan kita sebagai sebagian daya pengubah kecil dalam semesta yang luas. Perubahan landasan berpikir ini menjadi tawaran baru dalam mengartikulasikan kenyataan kontemporer atas banyak konflik lewat teknologi media.<\/p>\n

Sinema sebagai medium yang penuh potensi memiliki aspek haptiknya (sentuhan) untuk mematerialisasi pengalaman ketubuhan pada penonton. Lewat tekstur-tekstur maupun gerak dinamis dari objek-objek dalam frame<\/i> atau mediumnya sendiri, penonton dapat merelasikan pengalaman ketubuhannya dengan durasi rangsangan audiovisual tersebut. Potensi itu disadari penuh oleh para sutradara La Force Diagonale<\/i> dalam kuratorial ini. Lewat jukstaposisi tubuh manusia yang performatif, objek, lanskap, durasi shot<\/i>, berpadu dengan narasi-narasi kecil dari trauma geopolitik yang besar serta pembacaan personal dan objektif dari Hannah Arendt sebagai pemikir besar sekaligus seorang eksil, filem ini menghadirkan kompleksitas manusia dalam mengutilisasi gaya diagonalnya lewat pilihan mereka untuk mengokupasi ruang atau peran dalam hidupnya. Kuratorial ini mengundang anda untuk merefleksikan sinema sebagai salah satu medium yang dapat mengamplifikasi aksi pemikiran sebagaimana spekulasi Arendt yang termaterialisasi lewat waktu, berbagi pengalaman ketubuhan lintas batas dan akhirnya berdaya politis untuk keluar dari lingkaran fatalistis peradaban.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1724224836402{margin-bottom: 0px !important;}”]In Western canonized World History, the articulation of the European conflict, with all the systems that came out of it, led to changes in the \u201cglobal\u201d structure of peace. Despite the recurrence of conflict, from the Treaty of Westphalia in the 17th century to the birth of the United Nations after the two World Wars, discussions of its excesses that are the domain of academia, art, and the praxis of humanitarian aid still always clash with policy praxis in the realm of the nation-state. The nation-state lines drawn with the awareness of the resolution of major conflicts are not free from the Cold War modifications of the superpowers who skillfully manage conflicts based on horizontal patterns in \u201cperipheral\u201d societies and the revolutionary work of media technology. Thus, the conflict traumas that haunt humans durably accumulate into palimpsests (stacked manuscripts) in the bodies of individuals, not infrequently giving rise to psychosomatic disorders that disorient how the senses work.<\/p>\n

 <\/p>\n

The disorientation of the senses in the trauma of conflict becomes an intergenerational perpetual motion constantly discussed in search of an ultimate solution. Philosophy and social science evolve to navigate the desires of power, domination, and xenophobia, inherent in the systemic violence of colonialism, the Trans-Atlantic slave trade, the reign of fascism, and the practice of warmongering in various locations. Hannah Arendt’s speculation in reading Franz Kafka’s modernist dilemma quoted in the film La Force Diagonale<\/i> invites us to imagine the movement of conflict through the laws of physics. We can imagine the force of past conflicts and future uncertainties as lines acting on humans. The Law of Parallelogram of Force is built with the visualization of a parallelogram where when one line collides with another line, a third diagonal line appears as the result of the collision of the two lines. It is this diagonal line or diagonal force that resonates indefinitely, which can be imagined as the reflective power of thought and the human basis for taking action on the collision of these two lines. This act of thinking is increasingly materialized as we leave behind the ancient bases of human civilization that leave no time for humans to think. So, this reflective act of thinking finds its political relevance in the materiality of time.<\/p>\n

 <\/p>\n

The act or movement of thinking that Arendt had in mind finds its new synthesis in today’s geological turn in social science discourse. This discourse frames humanity as a geological and atmospheric transforming force with rapid production and consumption in the post-Industrial Revolution beyond the natural geological work. The juxtaposition of human \u201ccivilization\u201d that has only lasted at best 10,000 years since the emergence of complex social organizations with 4.5 billion years of earth age, brings new projections in navigating the experience of duration. How humans shift their ego supremacy to reflect on the non-human agency that constructs more of our shared journey on earth. Placing ourselves in a geological time frame means imagining ourselves as a small part of the changing power in a vast universe. This shift in thinking offers a new way to articulate the contemporary reality of many conflicts through media technology.<\/p>\n

Cinema as a medium full of potential has its haptic (tactile) aspect to materialize the bodily experience of the audience. Through the textures and dynamic movements of objects in the frame or the medium itself, the audience can relate their bodily experience to the duration of the audiovisual stimulation. This potential is fully realized by the directors of La Force Diagonale<\/i> in this curatorial. Through the juxtaposition of performative human bodies, objects, landscapes, and shot durations, combined with small narratives of large geopolitical traumas and personal and objective readings of Hannah Arendt as a thinker and an exile, this film presents the complexity of humans in utilizing the diagonal force through their choice to occupy space or roles in their lives. This curatorial invites you to reflect on cinema as a medium that can amplify the action of thought as Arendt’s speculation materialized through time, sharing cross-border bodily experience, and finally politically empowering us to get out of the fatalistic loop of civilization.[\/vc_column_text][\/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=”12357″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724225575341{margin-bottom: 0px !important;}”]\n

La Force Diagonale \/ The Diagonal Force<\/h2>\n

Filmmaker\u00a0<\/em>Annik Leroy, Julie Morel<\/strong> (Belgium)
\nInternational Title<\/em> The Diagonal Force
\n<\/strong>Country of Production<\/em>\u00a0 Belgium
\n<\/strong>Language<\/em>\u00a0 French, German, Dutch, English, Bosnian
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

145 min, Surround, DCP, digital file, 4:3, 16mm, Both, 2023<\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724224921825{margin-bottom: 0px !important;}”]Filem ini membingkai fragmen renungan trauma konflik yang dibawakan oleh tubuh individu-individu yang memutuskan untuk beraksi yang dijukstaposisi dengan aksi performatif seorang seniman yang berbasis teks Hannah Arendt, pemikir besar sekaligus seorang eksil. Filem ini mematerialisasi pembicaraan Arendt tentang aksi berpikir sebagai gaya diagonal ke dalam gerak okupasi ruang dan bebunyian yang mengedepankan tekstur.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724224933877{margin-bottom: 0px !important;}”]This film frames fragments of conflict trauma reflections performed by the bodies of individuals who decide to act, juxtaposed with the performative actions of an artist based on the text of Hannah Arendt, a thinker and exile. The film materializes Arendt’s talk about the act of thinking as a diagonal force into the subjects\u2019 occupations of space and sound that emphasizes texture.<\/p>\n[\/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=”8375″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724225688322{margin-bottom: 0px !important;}”]Annik Leroy<\/strong><\/em> (1952, Brussel) adalah seorang sinematografer dan sutradara, yang telah memproduksi beberapa film panjang seperti Le paradis terrestre <\/i>(1973), In der D\u00e4mmerstunde – Berlin<\/i> (1980), Vers la mer<\/i> (1999), TREMOR. Es ist immer Krieg<\/i> (2017) dan instalasi seperti Cell 719 <\/i>(2006) dan Meinhof. 3 <\/i>(2008). Di antara spekulasi dan kenyataan, karya instalasi dan film meditatif Annik Leroy mengeksplorasi area gelap sejarah Eropa. Ia mengajar di ERG dan LUCA Hogeschool Sint-Lukas.<\/p>\n

Julie Morel<\/strong><\/em> (1976, Montpellier) adalah seorang seniman visual dan pembuat filem yang sejak tahun 2000 membuat instalasi dengan S8, 16mm, slide, musik, video dan gambar serta filem-filem pendek yang diputar di Argos Brussels, Courtisane Ghent, MuHKA Antwerpen, Festival Filem Internasional Rotterdam, Kunstraum Bethanien, Arte a.o. Ia menggarap TREMOR. Es ist immer Krieg<\/i> (2017) sutradara Annik Leroy di bidang kamera, suara, dan penyuntingan. The Diagonal Force<\/i> (2023) adalah film panjang pertamanya sebagai penulis dan sutradara. Julie Morel mengajar di ERG di Brussels sejak 2019.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724225664728{margin-bottom: 0px !important;}”]Annik Leroy<\/strong><\/em> (1952, Brussels) is a cinematographer and director, who made several feature films such as Le paradis terrestre<\/i> (1973), In der D\u00e4mmerstunde \u2013 Berlin<\/i> (1980), Vers la mer<\/i> (1999), TREMOR. Es ist immer Krieg<\/i> (2017) and installations such as Cell 719<\/i> (2006) and Meinhof. 3<\/i> (2008). Somewhere between speculation and reality, Annik Leroy\u2019s installation and meditative films explore the dark areas of European history. She taught at ERG and LUCA Hogeschool Sint-Lukas.<\/p>\n

 <\/p>\n

Julie Morel<\/strong><\/em> (1976, Montpellier) is a visual artist and filmmaker who since 2000 made installations with S8, 16mm, slides, music, video and drawings as well as shorter films that were shown at Argos Brussels, Courtisane Ghent, MuHKA Antwerp, International Film Festival Rotterdam, Kunstraum Bethanien, Arte a.o. She worked on TREMOR. Es ist immer Krieg<\/i> (2017) by Annik Leroy on camera, sound and editing. The Diagonal Force<\/i> (2023) is her first feature film as a co-writer and -director. Julie Morel teaches at ERG in Brussels since 2019.[\/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=”10845″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724555885760{margin-bottom: 0px !important;}”]Luthfan Nur Rochman<\/b> merupakan seorang pembuat filem, kurator, dan penulis, Direktur Eksekutif Forum Lenteng dan Direktur Festival ARKIPEL, Jakarta International Documentary & Experimental Film Festival. Ia pun berfokus di Milisifilem, kelompok belajar produksi filem melalui praktik eksperimentasi visual, yang digagas oleh Forum Lenteng dan Candikala, yang mencoba mengontekstualisasikan warisan Hindu-Budha dan kerja arkeologi di Indonesia melalui praktik seni. Luthfan turut mengkurasi beberapa pameran mulai dari pameran tunggal Otty Widasari: PARTISAN (Galeri Nasional Indonesia, 2022), Jogja Fotografis Festival (2023-sekarang), dan Residensi Seniman dan Festival Rakyat Bangsal Menggawe: Montase Air (Pemenang, Lombok Utara, 2024).<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724555961988{margin-bottom: 0px !important;}”]Luthfan Nur Rochman<\/b> is a filmmaker, curator and writer, Executive Director of Forum Lenteng and Director of ARKIPEL, Jakarta International Documentary & Experimental Film Festival. He also focuses on Milisifilem, a film production study collective through visual experimentation practices, initiated by Forum Lenteng, and Candikala, which tries to contextualize Hindu-Buddhist heritage and archaeological work in Indonesia through art practices. Luthfan also curated several exhibitions, including Otty Widasari’s solo exhibition: PARTISAN (Galeri Nasional Indonesia, 2022), Jogja Fotografis Festival (2023-present), and Residensi Seniman and Festival Rakyat Bangsal Menggawe: Montase Air (Pemenang, North Lombok, 2024).<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

A subtle disruption to the system arises from the daily lives of people on the “periphery”, as reflected in two curated films here. Even though they do not fully agitate the dominating authorities, the “divergent model” of work, and the behaviour or response that belong to the marginalised people (outside the system) keep alive the criticism of social and economic determinants. That is perhaps the one of bromocorah’s existential trait in the society.<\/p>\n","protected":false},"author":1,"featured_media":0,"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":[687,344],"tags":[716,192],"class_list":["post-12556","post","type-post","status-publish","format-standard","hentry","category-arkipel-2024-garden-of-earthy-delights","category-international-competition-program","tag-716","tag-international-competition"],"jetpack_publicize_connections":[],"yoast_head":"\nInternational Competition 1 - Gaya Diagonal — ARKIPEL<\/title>\n<meta name=\"description\" content=\"Dalam Sejarah Dunia yang dikanonisasi Barat, artikulasi mengenai konflik Eropa, dengan segala perangkat sistem yang lahir darinya, berujung pada perubahan struktur \u201cglobal\u201d perdamaian. Meski konflik terus berulang, baik sejak traktat Westphalia di abad 17 hingga kelahiran Perserikatan Bangsa-bangsa setelah dua Perang Dunia, pembicaraan terkait ekses-eksesnya yang menjadi ranah dari akademik, seni, maupun praksis bantuan kemanusiaan masih selalu berbenturan dengan praksis kebijakan di ranah negara-bangsa. Garis-garis negara bangsa yang ditarik dengan kesadaran resolusi konflik-konflik besar tersebut tidak bebas dari modifikasi Perang Dingin para Adidaya yang bergulat lihai mengelola konflik berbasis pola-pola horizontal di masyarakat \u201cperiferal\u201d dan revolusi kerja teknologi media. 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