{"id":12568,"date":"2024-08-26T09:23:02","date_gmt":"2024-08-26T02:23:02","guid":{"rendered":"https:\/\/arkipel.org\/?p=12568"},"modified":"2024-08-31T09:12:32","modified_gmt":"2024-08-31T02:12:32","slug":"2024ic06","status":"publish","type":"post","link":"https:\/\/arkipel.org\/2024ic06\/","title":{"rendered":"International Competition 6"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1724234998990{margin-bottom: 0px !important;}”]\n

Role Play
\n<\/b>Role Play<\/b><\/em><\/h1>\n

<\/h1>\n

Host: Valencia Winata<\/strong><\/p>\n

\u00a0<\/strong><\/p>\n

Monday, August 26, 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_1724235016486{margin-bottom: 0px !important;}”]Di dalam masyarakat reproduktif ini\u2013reproduktif secara sosiologis di mana masyarakat diatur sedemikian rupa sehingga masyarakat itu terus-menerus mereproduksi dirinya\u2013semua manusia sepertinya mempunyai peran yang mereka jalankan. Perihal apakah mereka memilih untuk menjalankannya atau tidak, peran itu telah ditetapkan. Sekarang, tergantung bagaimana cara peran itu dimainkan. Program kuratorial ini dibuat untuk melihat bagaimana masyarakat\u2013sebagian besar perempuan\u2013menavigasikan dan menyabotase peran yang ditetapkan bagi mereka. Masyarakat sedikit banyak dibentuk oleh aturan gender, tetapi seiring pengaturan itu, kita tetap dapat menciptakan makna kita sendiri\u2013makna yang sering kali diabaikan dan dilupakan oleh sistem masyarakat yang maskulin. Keenam filem di program ini menyingkap, mengukuhkan, mempertanyakan, menafsirkan, memanusiakan, berempati, dan lebih pentingnya lagi, memosisikan perempuan dan sejarahnya sebagai bagian dari sejarah besar peradaban. Hasilnya, sebuah pernyataan: peradaban tidak bisa lahir tanpa rahim ibu.<\/p>\n

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Good Morning Young Body <\/i>(Charmaine Poh, 2023) membuka program ini dengan sebuah pengadeganan tubuh virtual perempuan berumur 12 tahun yang mengalami cyberbullying. <\/i>Filem ini menampilkan tubuh virtual ini sebagai sesuatu yang tidak normal\u2013sebuah anomali dari sudut pandang norma dalam masyarakat\u2013dan ketika tubuh ini menerima ketidaknormalan tersebut, ia menyingkap aturan dan batasan yang dibebankan oleh norma-norma. Ketidaknormalan, rupanya bukanlah kesalahan, ia adalah celah untuk melawan sistem. Filem kedua, The Skin of Mars <\/i>(Maite Redondo Gaztelu, 2022), menanggapi optimisme perlawanan tersebut dengan menjelajah bentuk lain dari ketidaknormalan. Ia mengutip dan mengutip ulang eksploitasi terhadap perempuan dan juga alam\u2013dua pihak yang menjadi si pemberi yang juga terus dikeruk. Dalam konteks ini, pengutipan menjadi permainan dialektis yang mengukuhkan betapa kuatnya cengkeraman siklus reproduksi ekonomi dalam masyarakat, dan sebaliknya pengutipan juga menjadi kegigihan dan keberadaan yang terus-menerus menentang sistem tersebut. Pertanyaan tentang apa itu normal\/natural diajukan oleh There\u2019s Not Much We Can Do <\/i>(Erica Monde, 2022). Dari sudut pandang ilmu kesehatan modern, tubuh dikategorisasikan secara hitam putih menjadi dua tipe: sehat atau sakit. Menggunakan monolog internal seorang perempuan yang mengalami endometriosis\u2013sebuah kondisi yang menyebabkan rasa sakit hebat di pinggul saat menstruasi\u2013filem ini menunjukkan perspektif perempuan sebagai perspektif pangkal dalam memahami tubuh perempuan yang sesungguhnya. Sebuah makna akan tubuh yang melampaui diagnosis medis. Aksi mempertanyakan apa itu normal\/natural menjadi kritik terhadap cara pikir biner, cara pikir kolonial dalam memahami tubuh perempuan. Dengan nada yang mirip, sebagai perpanjangan dari pergolakan internal, Bleared Eyes of Blue Glass <\/i>(Kyujae Park, 2023) mengambil kutipan dari novel The Waves <\/i>karya Virginia Woolf. Dengan diam (tanpa suara), ia menafsirkan bahasa kesadaran. Filem menjadi model alternatif dalam mengekspresikan bahasa tekstual, di mana teks diungkapkan lewat tekstur, dan apa yang internal kali ini didengar lewat mata. Sesekali, ada kalanya indera mengalami dan membayangkan tubuh sebagai sesuatu tak berwujud, dan ada kalanya tubuh bebas dari aturan gender.<\/p>\n

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Filem kelima, Moi aussi, je regarde <\/i>(Ingel Vaikla, 2024), secara subtil dan baik merespons manifesto filem pertama. Ia menilai fungsi arsitektur perumahan umum yang didesain oleh Le Corbusier dengan mengambil contoh apartemen Unit\u00e9 d\u2019habitation<\/i> yang terletak di kota Marseille, Prancis. Setiap sudut kawasan tempat tinggal tersebut seakan-akan mempunyai fungsinya tersendiri. Nilai fungsional dalam sebuah habitat yang berjarak dengan manusia kemudian dibalikkan oleh filem ini. Ia justru mendekatkan diri dengan perspektif yang berbeda. Kamera bergerak menyapu lanskap secara horizontal, merentang sejauh apa yang bisa dicapai oleh mata kamera dan mata kita; kita tidak dapat bergerak mendekat, tetapi kita dapat melihat. Tidak lagi dilihat, tetapi melihat. Aksi melihat ini dimanusiakan, didekatkan, dengan lompatan yang cemerlang, melalui sisi feminin arsitektur, yaitu dapur. Didesain oleh Charlotte Perriand, dapur dimaknai dan dialami dengan rasa dan indera\u2013sesuatu yang tidak terjangkau oleh sistem yang maskulin. Filem terakhir, A Town of One\u2019s Own <\/i>(Aude Thuries, 2023), menunjukkan sisi keibuan yang sangat khas dan personal, yang tidak ada bandingannya. Sisi ini mempunyai rasanya sendiri, dan filem ini memberi kita akses untuk berempati dengannya. Ia menelusuri sejarah personal dari sebuah keluarga yang berjalan paralel dengan sejarah sebuah kota. Rahim adalah organ reproduksi, rahim adalah fondasi kelahiran individu, keluarga, generasi, bahkan peradaban. Dengan demikian, sejarah perempuan bukan sejarah tentang perempuan semata, ia adalah sejarah kehidupan.<\/p>\n

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Sama perihalnya dengan sinema\u2013roh yang merujuk kepada dirinya sendiri, yang mereproduksi dirinya dengan menggunakan teks dan visual yang sama, lagi dan lagi, sehingga ia hidup abadi; keabadian yang dapat diterawang dari sudut yang berbeda-beda, yang membuat penontonnya menemukan sesuatu yang baru dari yang lama. Sama dengan roh sinema, filem-filem dalam program ini sadar betul dengan kemampuan mereka dalam menengok balik sejarahnya sendiri, menggunakannya lagi dan lagi, memosisikan dan mereposisikan agensinya dalam tataran sosial.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1724235028639{margin-bottom: 0px !important;}”]In this reproductive society\u2013reproductive in the sociological sense that society is organised and maintained so that it reproduces themself\u2013it seems that everyone has a role that they perform. Whether one chooses to perform it or not, the role has been assigned to them. The decision then is how one can play with it. This curatorial programme is designed to see how (mostly) women navigate and subvert their assigned roles. We are very much defined by a gendered society, but we can also make our own meaning alongside it\u2013a meaning that is often overlooked by the masculine, dominant system. The six films in this programme reveal, establish, question, interpret, humanise, empathise, and more importantly, position women\u2019s history as part of the larger history of civilisation. Without the womb, there is no life.<\/p>\n

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Good Morning Young Body <\/i>(Charmaine Poh, 2023) opens with an enactment of a cyberbullying of a female body, which takes the form of a virtual 12-year-old girl. The film presents this virtual body as a glitch\u2013an anomaly in societal norms\u2013and it accepts itself as such, thereby revealing the set of definitions and limitations imposed by these norms. A glitch, however, is not an irreversible mistake; it becomes an opportunity for potential resistance to the system. Following this hopeful tone, The Skin of Mars <\/i>(Maite Redondo Gaztelu, 2022) explores another kind of glitch as it quotes and re-quotes the history of exploitations of both women and nature as the labourers and the laboured. Through the act of quoting, it forms a dialectical play that establishes and exposes the longstanding system of reproductive economic society, while simultaneously and relentlessly persisting in the act of countering it. There\u2019s Not Much We Can Do <\/i>(Erica Monde, 2022) questions what is natural about a body that is categorised according to medical science, which views a body as either healthy or diseased\u2013there\u2019s no in-between. Through the inner monologue of a person with endometriosis\u2013a condition characterised by severe pelvic pain during menstrual periods\u2013the film shows the native perspective of how a female body actually is, beyond the pain and the diagnosis. Here, questioning becomes an attempt to criticise the binary, colonising thinking of a right\/wrong (female) body. In an almost similar style, as an extension of inner turmoil, and taken from an excerpt of The Waves <\/i>by Virginia Woolf, Bleared Eyes of Blue Glass <\/i>(Kyujae Park, 2023) silently interprets the language of stream of consciousness. An alternative to the expression of textual language, in which text can now be expressed through textures and an inner turmoil is now listened to through the eyes. For a change, the body is imagined by the senses as a being free from being gendered.<\/p>\n

 <\/p>\n

A subtle yet optimistic response to the opening film, the fifth film, Moi aussi, je regarde <\/i>(Ingel Vaikla, 2024), delves into the function of architecture as residential housing. It examines the Unit\u00e9 d\u2019habitation<\/i> in Marseille, designed by Le Corbusier, where every corner of the area seems to have been assigned its functionality. The film counters that very idea of a functional\u2013but slightly inhumane\u2013habitat with a more humane perspective. The camera pans and sweeps through the surroundings that stretch out as far as the camera and our eyes can go; we cannot get closer than that but we can <\/i>look. No longer to be looked at, but looking. The look is humanised, brought closer, surprisingly and brilliantly, by the feminine side of architecture: the kitchen. Designed by Charlotte Perriand, the kitchen is recalled by a resident as a place of experiences, feelings, and senses\u2013something that the masculine system lacks. The last film, A Town of One\u2019s Own <\/i>(Aude Thuries, 2023), shows us the side of motherhood that is so personal and specific to the point that it cannot be replicated. It speaks its own language, and the film allows us an access to empathise with it. It traces the personal history of a family alongside the history of a civilisation, where both histories operate in parallel. Here, the womb is reproductive, it is the foundation of new individuals, families, generations, and civilisation. Women\u2019s history is not a history about women themselves; it is a history of life.<\/p>\n

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Likewise, cinema is consciously a self-referential spirit that reproduces itself. The same lines, visuals, and elements are used again and again, keeping the spirit alive, making itself seen in a different light, making the audience discover and rediscover something new from something old. Sharing the same spirit, the films in this programme are self-aware with their ability to revisit their history, using and reusing, thus positioning and repositioning their own agency within the world.[\/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=”12359″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724235163648{margin-bottom: 0px !important;}”]\n

Good Morning Young Body<\/b><\/h2>\n

Filmmaker <\/em>Charmaine Poh<\/strong> (Singapore)
\nInternational Title<\/em> Good Morning Young Body
\n<\/strong>Country of Production<\/em>\u00a0 Singapore
\n<\/strong>Language<\/em>\u00a0 English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

7 min, Stereo, Digital, 16:9, Color, 2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724235299393{margin-bottom: 0px !important;}”]Sebuah tubuh virtual (perempuan) dipandang sebagai sebuah ketidaknormalan. Justru, ketidaknormalan ini menyingkap aturan gender yang membentuk norma dalam masyarakat. Terinspirasi dari manifesto Glitch Feminism <\/i>oleh Legacy Russell, tubuh menerima dirinya apa adanya\u2013sebagai sebuah celah\u2013dan menjelajah kemungkinan perlawanan terhadap sistem masyarakat.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724235286152{margin-bottom: 0px !important;}”]A virtual (female) body is seen as a glitch. Yet, this glitch reveals the underlying gender system that shapes society. Inspired by Legacy Russell\u2019s manifesto Glitch Feminism<\/i>, the body embraces itself as such\u2013as a rupture\u2013and opens itself up to the possibility of resistance.[\/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=”12571″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724235234851{margin-bottom: 0px !important;}”]Charmaine Poh<\/strong><\/em> adalah seorang seniman dari Singapura yang bekerja di berbagai media, gambar bergerak, dan pertunjukan untuk mengupas, menginterogasi, dan menampung gagasan tentang agensi, perbaikan, dan tubuh di seluruh dunia. Fokusnya saat ini, “The Young Body Universe”, adalah serangkaian karya yang mempertimbangkan potensi tubuh tekno-feminis. Karyanya berpusat pada pengaruh kerentanan, hasrat, dan keintiman dari sudut pandang subversi. Charmaine tumbuh sebagai aktor yang mempelajari hubungan internasional dan antropologi visual. Ia mengembangkan praktik fotografi dengan menggunakan metodologi dokumenter dan etnografi sebelum kembali menggunakan performans sebagai kekuatan pendorong.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724235254724{margin-bottom: 0px !important;}”]Charmaine Poh<\/strong><\/em> is an artist from Singapore working across media, moving image, and performance to peel apart, interrogate, and hold ideas of agency, repair, and the body across worlds. Her current focus, \u201cThe Young Body Universe\u201d, is a series of enactments considering the potentialities of the feminist techno-body. Her work centres the affects of vulnerability, desire, and intimacy from the vantage point of subversion. Charmaine grew up as an actor studying international relations and visual anthropology. She developed a photography practice using documentary and ethnographic methodologies before looping back into using performance as a driving force.[\/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=”1724227280858-e56cb026-59b7″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12375″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724235444284{margin-bottom: 0px !important;}”]\n

La piel de Marte \/ The skin of Mars<\/h2>\n

Filmmaker\u00a0<\/em>Maite Redondo Gaztelu<\/strong> (Spain)
\nInternational Title<\/em> La piel de Marte \/ The skin of Mars
\n<\/strong>Country of Production<\/em>\u00a0 Spain
\n<\/strong>Language<\/em>\u00a0 Danish, English, Spanish
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

22 min, Stereo, Digital APPLE PRORES 422 HQ \/ DCP, 16:9, HD, Color, 2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724235461629{margin-bottom: 0px !important;}”]Mengutip filem lama tentang perburuan para penyihir perempuan, dan menyusunnya dengan rekaman proses penambangan batu, The Skin of Mars <\/i>memotret eksploitasi perempuan dan juga alam. Filem ini mengutip ulang sejarah aktivisme dan sejarah sinema, mengolahnya menjadi sebuah bentuk kegigihan yang menentang siklus reproduksi ekonomi masyarakat.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724235474120{margin-bottom: 0px !important;}”]Quoting a film about a witch hunt, overlaying it with footage of rock mining, The Skin of Mars <\/i>alludes to the exploitation of the domestics: women and nature. It uses and reuses the history of both activism and cinema to persist and counter the reproductive economic society.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724227281416-fbff1039-bfbc”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12573″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724235666120{margin-bottom: 0px !important;}”]Maite Redondo Gaztelu<\/strong><\/em> adalah sarjana Seni Rupa, magister Teori dan Praktik Dokumenter Kreatif, dan Film Kontemporer dan Studi Audiovisual. Ia mengembangkan proyek multidisiplin di bidang seni visual, sinema, dan penelitian teoretis. Karyanya dicirikan dengan mengumpulkan berbagai suara atau sudut pandang yang menciptakan cerita paduan suara. Konsep lanskap dan karya bersifat transversal dalam proyek-proyeknya, berdasarkan penelitian yang didukung oleh teori kritis, dari perspektif anti-rasis, feminis, dan ekologis. Ia mengembangkan proyeknya sendiri dan juga berkolaborasi dalam film lain sebagai direktur fotografi dan editor.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724235689082{margin-bottom: 0px !important;}”]Maite Redondo Gaztelu<\/strong><\/em> is bachelor of Fine Arts, Master in Theory and Practice of Creative Documentary, and Contemporary Film and Audiovisual Studies. She develops multidisciplinary projects in the field of visual arts, cinema and theoretical research. Her work is characterized by collecting various voices or points of view creating choral stories. The concepts of landscape and work are transversal in her projects, based on research that is supported by critical theory, from anti-racist, feminist and ecological perspectives. She develops her own projects and also she collaborates in other films as director of photography and editor.[\/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=”1724228373653-835b91d2-3431″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724235935638{margin-bottom: 0px !important;}”]\n

There\u2019s Not Much We Can Do<\/b><\/h2>\n

Filmmaker\u00a0<\/em>Erica Monde<\/strong> (United Kingdom)
\nInternational Title<\/em> There’s Not Much We Can Do<\/strong>
\nCountry of Production<\/em>\u00a0 United Kingdom
\n<\/strong>Language<\/em>\u00a0 English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

20 min, Stereo, Digital, 16:9, Color, 2022[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724236062838{margin-bottom: 0px !important;}”]Apa itu tubuh yang natural dan tidak natural? Apakah sakit menstruasi itu natural atau tidak? Bagaimana tubuh perempuan dipahami, dan oleh siapa?[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724236073240{margin-bottom: 0px !important;}”]What is natural and unnatural about a (female) body? Is bodily pain natural or unnatural? How should the body be understood, and by whom?[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724228374273-86359026-9f36″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12576″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724236007918{margin-bottom: 0px !important;}”]Erica Monde<\/strong><\/em> adalah seorang sineas dan antropolog yang bekerja di bidang penyutradaraan, pendidikan film, dan penelitian. Filem debutnya, There’s Not Much We Can Do<\/i>, disponsori oleh Screen Scotland dan Scottish Documentary Institute for Bridging the Gap, dan tayang perdana di Edinburgh International Film Festival, tayang perdana secara internasional di DOC:NYC, dan dinominasikan sebagai filem dokumenter terbaik di Raindance Film Festival. Erica adalah salah satu pendiri IMPRINT Documentary Collective, sebuah kolektif film feminis internasional yang bekerja pada tubuh dan ketubuhan dalam film, adalah alumni dari Locarno Industry Academy, dan saat ini mengajar di jurusan Film Medicine di Universitas Edinburgh. Baru-baru ini, ia ditugaskan oleh BFI Network dan Short Circuit untuk membuat film fiksi pendek pertamanya, This Desert Will Rust Your Bones<\/i>.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724236025193{margin-bottom: 0px !important;}”]Erica Monde<\/strong><\/em> is a filmmaker and anthropologist working across directing, film education, and research. Her debut film, There\u2019s Not Much We Can Do<\/i>, was commissioned by Screen Scotland and the Scottish Documentary Institute for Bridging the Gap, and premiered at Edinburgh International Film Festival, internationally premiered at DOC:NYC, and was nominated for best documentary short at Raindance Film Festival. Erica is co-founder of IMPRINT Documentary Collective, an international feminist film collective working on the body and embodiment in film, is an alumni of the Locarno Industry Academy, and currently tutors on the Film Medicine course at the University of Edinburgh. She has recently been commissioned by BFI Network and Short Circuit to develop her first fiction short, This Desert Will Rust Your Bones<\/i>.[\/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=”1724228659832-709307b0-df76″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724236244184{margin-bottom: 0px !important;}”]\n

Bleared Eyes of Blue Glass <\/b><\/h2>\n

Filmmaker\u00a0<\/em>Kyujae Park<\/strong> (Korea, Republic of)
\nInternational Title<\/em> Bleared Eyes of Blue Glass<\/strong>
\nCountry of Production<\/em>\u00a0 Korea, Republic of
\n<\/strong>Language<\/em>\u00a0 English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

9 min, Stereo, Digital, 4:3, Black & White and Color, 2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724236347926{margin-bottom: 0px !important;}”]Mengutip dari novel The Waves <\/i>karya Virginia Woolf, filem hitam putih ini bermain dengan teks dan tekstur. Dengan diam, ia mengajak penonton untuk mendengar lewat mata. Tubuh dibayangkan memiliki agensi sinematik yang secara sensoris mampu menciptakan narasinya sendiri.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724236359334{margin-bottom: 0px !important;}”]Taken from an excerpt of The Waves <\/i>by Virginia Woolf, this black-and-white film silently plays with text and texture. It welcomes the audience to listen through their eyes. The body is imagined as a cinematic sensory being able to construct its own narrative.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724228660536-ec600145-5933″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12580″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724236313866{margin-bottom: 0px !important;}”]Park Kyujae<\/strong><\/em> membuat filem dengan Super 8, 16mm, dan digital, mengeksplorasi permainan cahaya, hal-hal yang bersifat pribadi, dan alam. Bersama rekan-rekannya, ia menyelenggarakan pemutaran film independen di Seoul secara non-reguler. Ia menerjemahkan film untuk festival film dan bioskop.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724236329634{margin-bottom: 0px !important;}”]Park Kyujae<\/strong><\/em> makes films with Super 8, 16mm, and digital, exploring the play of light, personal things, and nature. Along with his colleagues, he organizes independent film screenings in Seoul on a non-regular basis. He translates films for film festivals and cinematheques.[\/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=”1724229522551-af6763ca-d243″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724236519884{margin-bottom: 0px !important;}”]\n

Moi Aussi, Je Regarde<\/h2>\n

Filmmaker\u00a0<\/em>Ingel Vaikla<\/strong> (Brussel)
\nInternational Title<\/em> Moi Aussi, Je Regarde<\/strong>
\nCountry of Production<\/em>\u00a0 Belgium, France
\n<\/strong>Language<\/em>\u00a0 French
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

22 min, Surround, DCP \/ mov, 4:3, 16mm, Both, 2024[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724236651600{margin-bottom: 0px !important;}”]Filem ini menampilkan cerita para penghuni sebuah apartemen publik yang didesain oleh Le Corbusier, di mana setiap ruang di kawasan tersebut seakan-akan mempunyai fungsinya tersendiri. Fungsionalitas yang kaku, maskulin dan berjarak ini disabotase oleh sisi arsitekturnya yang feminin, yaitu dapur. Dapur membawa kehangatan yang dimaknai lewat memori, rasa, dan inderawi. Digambarkan lewat sapuan kamera yang menatap lanskap kota, kita tidak lagi dilihat, tetapi melihat.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724236662072{margin-bottom: 0px !important;}”]The film tells the stories of residents\u2019 lives in a public housing designed by Le Corbusier, where every space seems to have a systematic function. This systemic\u2013very cold and slightly inhumane\u2013architecture is countered by its feminine counterpart: the kitchen. The kitchen is recalled to bring warmth in the form of memory, feelings, and senses. Told through visuals in which the camera pans and sweeps through the landscape of Marseille, France, we are no longer to be looked at, but looking.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724229523339-37970e3f-483d”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12582″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724236616927{margin-bottom: 0px !important;}”]Ingel Vaikla<\/strong><\/em> (1992, Tallinn) adalah seorang seniman visual dan sineas berbasis di Brussel yang bekerja utamanya dengan video, filem analog 16 mm, dan footage temuan. Praktik artistik Vaikla berfokus pada representasi arsitektur dan hubungan antara ruang dan komunitasnya. Ia terus mencari bahasa visual yang tidak hanya mengamati arsitektur sebagai bentuk skulptural, tetapi juga menerjemahkan kualitas eksistensial, konseptual, dan ideologis dari sebuah ruang. Karya-karyanya The House Guard<\/i>, Roosenberg<\/i>, Double Exposure<\/i>, Papagalo<\/i>, What’s the Time?<\/i>, EUR42<\/i> telah diputar secara internasional di berbagai festival film dan institusi seni seperti IDFA di Amsterdam, Kunsthalle Wien, EKKM di Tallinn, Beursschouwburg dan Bozar di Brussel, Manifesta 13 di Marseille, Videonale di Bonn, Tramway di Glasgow, EMAF di Osnabr\u00fcck, Busan International Video Art Festival, dan lain-lain.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724236633429{margin-bottom: 0px !important;}”]Ingel Vaikla<\/strong><\/em> (1992, Tallinn) is a visual artist and a filmmaker based in Brussels working primarily with video, 16 mm analogue film and found footage. Vaikla\u2019s artistic practice focuses on representation of architecture and on the relationship between the space and its communities. She is on a constant search for visual language that would not simply observe architecture as a sculptural form but would translate the existential, conceptual and ideological qualities spaces manifest. Her works The House Guard<\/i>, Roosenberg<\/i>, Double Exposure<\/i>, Papagalo<\/i>, What’s the Time?<\/i>, EUR42<\/i>\u00a0 have been screened internationally at film festivals and art institutions such as IDFA in Amsterdam, Kunsthalle Wien, EKKM in Tallinn,\u00a0Beursschouwburg and Bozar in Brussels, Manifesta 13 in Marseille, Videonale in Bonn, Tramway in Glasgow, EMAF in Osnabr\u00fcck,\u00a0Busan International Video Art Festival, etc.[\/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=”1724236668028-8425c59f-fa8c”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724236763472{margin-bottom: 0px !important;}”]\n

24 lieux de la vie d’une femme \/ A Town of One\u2019s Own<\/h2>\n

Filmmaker\u00a0<\/em>Aude Thuries<\/strong> (France)
\nInternational Title<\/em> 24 lieux de la vie d’une femme \/ A Town of One\u2019s Own<\/strong>
\nCountry of Production<\/em> France
\n<\/strong>Language<\/em>\u00a0 French
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

30 min, Stereo, Digital, 2:39, HD, Color, 2023[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724236940181{margin-bottom: 0px !important;}”]Pengalaman keibuan mempunyai esensinya tersendiri\u2013yang sangat personal dan spesifik\u2013dan filem ini mengajak kita untuk meraba dan merasakannya. Sejarah perempuan bukan cuma sejarah tentang perempuan; ia adalah sejarah kehidupan. Rahim adalah organ reproduksi, ia adalah fondasi kelahiran peradaban.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724236949926{margin-bottom: 0px !important;}”]Motherhood has its side that is so personal and this film allows us to taste the feel of it. Women\u2019s history is not a history about women only; it is a history of life. The womb is reproductive, it is essentially the foundation of civilisation.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724236669168-0cda829f-c8e1″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12584″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724236906667{margin-bottom: 0px !important;}”]Aude Thuries<\/strong><\/em> menyutradarai dua filem pendek yang disiarkan di televisi Prancis, White spirit<\/i> dan Jesus 2020<\/i>. Sebagai penulis skenario, dia dikenal sebagai penulis film Ghost Song <\/i>oleh Nicolas Peduzzi, yang terpilih untuk Acid 2021, dan After the fire<\/i> oleh Mehdi Fikri, yang terpilih untuk TIFF 2023.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724236921561{margin-bottom: 0px !important;}”]Aude Thuries<\/strong><\/em> directed two short films broadcasted on French television, White spirit<\/i> and Jesus 2020<\/i>. As a screenwriter, she notably worked on Ghost Song<\/i> by Nicolas Peduzzi, selected for Acid 2021, and After the fire<\/i> by Mehdi Fikri, selected for TIFF 2023.[\/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=”13006″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724638429885{margin-bottom: 0px !important;}”]\n

Valencia Winata<\/strong> adalah seorang sarjana filem yang telah membuat beberapa video pendek. Dia bagian dari tim database yang mengelola koleksi filem dokumenter Indonesia di Forum Film Dokumenter di Yogyakarta. Saat ini ia sedang melanjutkan pendidikannya di bidang Kajian Budaya di Universitas Sanata Dharma. Penelitiannya berfokus pada sejarah, estetika, dan budaya filem.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724638444899{margin-bottom: 0px !important;}”]\n

Valencia Winata<\/strong> is an aspiring film scholar who has made several short videos. She is part of the database team that manages the Indonesian documentary film collection at Forum Film Dokumenter in Yogyakarta. She is currently furthering her education in Cultural Studies at Sanata Dharma University. Her research focuses on film history, aesthetics, and culture.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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