{"id":12648,"date":"2024-08-30T18:08:30","date_gmt":"2024-08-30T11:08:30","guid":{"rendered":"https:\/\/arkipel.org\/?p=12648"},"modified":"2024-08-30T18:08:30","modified_gmt":"2024-08-30T11:08:30","slug":"cp-sel","status":"publish","type":"post","link":"https:\/\/arkipel.org\/cp-sel\/","title":{"rendered":"Curatorial Program"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1724254664256{margin-bottom: 0px !important;}”]\n

Bahasa dan Sensasi<\/b><\/h1>\n

<\/b>Language and Sensation<\/b><\/em><\/h1>\n

<\/h1>\n

Host: Adi Osman<\/strong><\/p>\n

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

Saturday, August 31, 2024 | 16:00 | 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_1724254677226{margin-bottom: 0px !important;}”]Beberapa bulan lalu warganet dibuat rusuh oleh <\/span>Crush!<\/span><\/i>, iklan produk terbaru dari Apple. Dalam iklan itu, sebuah mesin pres raksasa menekan dan menghancurkan secara perlahan berbagai barang di dalamnya, dan ketika pres itu diangkat muncul tablet tipis. Barang-barang yang terdiri dari instrumen musik, patung, cat, kamera, perekam audio, mesin gim, buku, dll. Instrumen kesenian yang dalam kehidupan sehari-hari memberikan pengalaman dan memori sensoris. Meskipun niatannya adalah menyediakan cara yang lebih mudah dan ringkas untuk berkarya, tetapi warganet mengumpati iklan itu karena menghomogenisasi praktik kesenian dan kesenimanan. Selain itu, pengalaman sensoris turut dipres.<\/span><\/p>\n

 <\/p>\n

Dalam paradigma bahasa semuanya adalah teks. Dunia bisa diinterpretasikan sebagai teks, terdiri dari struktur tertentu dan bisa dimaknai sebagai representasi. Dalam amatan seperti itu, segala perilaku dan aktivitas menjadi perwakilan dari suatu struktur dan membangun suatu makna. Makna dan pembentukannya merupakan hal penting di sini. Oleh karena itu, tablet tipis bisa dibenarkan sebagai cara baru dan lebih ringkas untuk membangun makna. Kehidupan sehari-hari bisa direpresentasikan melalui sebuah tablet. Begitu pula dalam analisis-analisis budaya yang mencari bangunan makna dari kehidupan sehari-hari masyarakat di suatu lokasi.\u00a0<\/span><\/p>\n

 <\/p>\n

Sementara itu, dalam kehidupan sehari-hari, makna hanya menjadi satu elemen dari kompleksitas kehidupan. Ada pengalaman sensoris yang menghubungkan tubuh dan lingkungan. Terima kasih kepada Merleau-Ponty yang mengetengahkan tubuh sebagai subjek yang memiliki bahasa dan struktur sendiri. Tubuh tidak lagi sebagai objek pasif dari pikiran, melainkan menjadi subjek yang mampu merefleksikan dunia. Tubuh dan indera turut mempengaruhi bagaimana pikiran bekerja dan mengalami dunia.\u00a0<\/span><\/p>\n

 <\/p>\n

Salah satu premis etnografi sensoris adalah merasakan suatu masyarakat dan lokasinya, sehingga pembaca pun bisa merasakan pengalaman keinderaan yang dialami. Seolah menempatkan pembaca di lokasi dan mengalami secara sensoris peristiwa atau aktivitas di sana. Upaya yang sama juga dapat dilihat dalam filem <\/span>De Humani Corporis Fabrica <\/span><\/i>(2022) karya V\u00e9r\u00e9na Paravel dan Lucien Castaing-Taylor.\u00a0<\/span><\/p>\n

 <\/p>\n

Filem ini meminjam judul buku yang ditulis oleh Andreas Vesalius, peneliti anatomi manusia dari Itali, yang diterbitkan pada 1543. Buku ini menyediakan hasil observasi Vesalius atas struktur tubuh manusia. Mulai dari tulang, otot, jalur aliran darah, syaraf, jantung, dan organ lainnya. Sebagaimana dalam filem ini, pula menyorot bagian dalam tubuh manusia menggunakan kamera yang biasa dipakai dalam kedokteran, kamera yang bisa masuk ke dalam daging manusia. Gerak kamera yang menelusuri daging dan aliran darah di balik kulit manusia dengan durasi yang panjang. Akan tetapi, filem ini tidak mengulangi apa yang ditulis Vesalius dalam bukunya. Filem ini juga menghadirkan sorotan dengan durasi yang cukup panjang tentang aktivitas pasien dan pekerja di ruang-ruang rumah sakit. Oleh karena itu, filem ini seakan melampaui apa yang dilakukan Vesalius. Justru dengan gerak kamera yang menelusuri struktur tubuh manusia dan struktur rumah sakit (aktivitas sehari-hari di rumah sakit), filem ini sedang menstimulasi penonton untuk berada di rumah sakit, mengalami dan merasakan apa yang biasa dilakukan oleh pekerja rumah sakit dan pasien.\u00a0\u00a0<\/span><\/p>\n

Iklan <\/span>Crush!<\/span><\/i> tidak hanya meminggirkan diversitas praktik seni, juga meminggirkan sensasi dengan cara yang sensasional di media sosial. Di tengah sensasi-sensasi yang kita alami sehari-hari melalui teknologi media, tetap saja perang Ukraina dan genosida di Palestina belum berhenti. Barangkali kita memang harus peka dan keinderaan kita harus dipantik supaya bisa merasakan dan berempati. Sebagaimana upaya <\/span>De Humani Corporis Fabrica<\/span><\/i> yang melampaui persoalan tekstual, yang menuntun persepsi penonton untuk mengalami suatu masyarakat.<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1724254687417{margin-bottom: 0px !important;}”]A few months ago netizens were riled up by <\/span>Crush!<\/span><\/i>, Apple’s latest product ad. In the ad, a giant press slowly presses and crushes various items inside, and when the press is lifted, a thin tablet appears. The items consist of musical instruments, sculptures, paints, cameras, audio recorders, game machines, books, etc. Artistic instruments that in everyday life provide a sensory experience and memory. Although the intention was to provide an easier and more compact way to create, netizens cursed the ad for homogenizing art and artistic practice. In addition, the sensory experience is also suppressed.<\/span><\/p>\n

In the language paradigm, everything is a text. The world can be interpreted as a text, consisting of certain structures, and can be interpreted as representations. In such a view, all behaviors and activities become representative of a structure and construct meaning. Meaning and its construction are important here. Therefore, thin tablets can be justified as a new and more compact way to construct meaning. Everyday life can be represented by a tablet. Similarly, cultural analyses seek the construction of meaning from the daily life of people in a location.<\/span><\/p>\n

Meanwhile, in everyday life, meaning is only one element of the complexity of life. There are sensory experiences that connect the body and the environment. Thanks to Merleau-Ponty, the body is a subject with its own language and structure. The body is no longer a passive object of the mind, but a subject capable of reflecting the world. The body and the senses shape how the mind works and experiences the world.<\/span><\/p>\n

One of the premises of sensory ethnography is to sense society and its location so that the reader can feel the sensory experience. It is like placing the reader in the location and sensorially experiencing the events or activities there. The same attempt can also be seen in V\u00e9r\u00e9na Paravel and Lucien Castaing-Taylor’s <\/span>De Humani Corporis Fabrica<\/span><\/i> (2022).<\/span><\/p>\n

The film borrows the title of a book written by Andreas Vesalius, an Italian anatomist, published in 1543. The book provides Vesalius’ observations on the structure of the human body. Including bones, muscles, the bloodstream, nerves, heart, and other organs. As in this film, the inside of the human body is revealed using a camera commonly used in medical practice, a camera that can penetrate the human flesh. The motion of the camera traces the flesh and blood flow beneath the human skin for a long duration. However, the film does not repeat what Vesalius wrote in his book. The film also presents long-duration shots of patients and workers in hospital rooms. Therefore, the film seems to go beyond what Vesalius did. Instead, with camera movements that trace the structure of the human body and the structure of the hospital (daily activities in the hospital), the film stimulates the audience to be in the hospital, experiencing and sensing what hospital workers and patients usually experience.\u00a0\u00a0<\/span><\/p>\n

The <\/span>Crush!<\/span><\/i> ad not only marginalizes the diversity of art practices, but also marginalizes sensation in a sensationalized way on social media. Amidst the sensations we experience daily through media technology, the war in Ukraine and the genocide in Palestine remain unresolved. Perhaps we need to be sensitized and our senses need to be triggered in order to feel and empathize. As <\/span>De Humani Corporis Fabrica<\/span><\/i> attempts to go beyond textual matters, guiding the audience’s perception to experience a society.<\/span>[\/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=”1724254069945-3c423f62-5f3a”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”12650″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724254887695{margin-bottom: 0px !important;}”]\n

De Humani Corporis Fabrica\u00a0<\/strong><\/h2>\n

Filmmaker Verena Paravel and Lucien Castaing-Taylor<\/b><\/em>
\nInternational Title<\/em> De Humani Corporis Fabrica
\n<\/strong>Country of Production<\/em> France, US, Switzerland
\n<\/strong>Language<\/em>\u00a0 France
\n<\/strong>Subtitle Engish<\/strong><\/em><\/p>\n

120 min, Color, 2022<\/b>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724254913004{margin-bottom: 0px !important;}”]Filem ini meminjam judul buku yang ditulis oleh Andreas Vesalius pada 1543, yang sama-sama menyorot bagian dalam tubuh manusia. Akan tetapi, filem ini seakan melampaui apa yang dilakukan Vesalius. Dengan gerak kamera yang menelusuri struktur tubuh manusia dan struktur rumah sakit (aktivitas sehari-hari di rumah sakit), filem ini sedang menstimulasi penonton untuk berada di rumah sakit, mengalami dan merasakan apa yang biasa dilakukan oleh pekerja rumah sakit dan pasien.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724254920937{margin-bottom: 0px !important;}”]The film borrows the title of a book written by Andreas Vesalius in 1543, which equally deals with the inside of the human body. However, this film seems to go beyond what Vesalius did. With camera movements that trace the structure of the human body and the structure of the hospital (daily activities in the hospital), the film stimulates the audience to be in the hospital, experiencing and sensing what hospital workers and patients usually experience.\u00a0 <\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1724254070085-ccac9165-70a8″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”12651″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724254956647{margin-bottom: 0px !important;}”]Verena Paravel<\/strong> and Lucien Castaing-Taylor<\/strong> collaborate as filmmakers at the Sensory Ethnography Laboratory, Harvard University. Their films and installations have been screened in prestigious festivals such as AFI, BAFICI, Berlin, CPH:DOX, Locarno, New York, Toronto, and Venice. Recently, their work joined the permanent collections of museums such as MoMa and the British Museum, and has been exhibited at Tate Modern in London, Whitney Museum, Centre Pompidou, and Berlin Kunsthalle.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724254970197{margin-bottom: 0px !important;}”]Verena Paravel<\/strong> dan Lucien Castaing-Taylor<\/strong> berkolaborasi sebagai pembuat filem di Sensory Ethnography Laboratory, Universitas Harvard. Filem dan instalasi mereka telah diputar di berbagai festival bergengsi seperti AFI, BAFICI, Berlin, CPH:DOX, Locarno, New York, Toronto, dan Venesia. Baru-baru ini, karya mereka bergabung dengan koleksi permanen museum seperti MoMa dan British Museum, dan telah dipamerkan di Tate Modern di London, Whitney Museum, Centre Pompidou, dan Berlin Kunsthalle.<\/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=”12652″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724255085144{margin-bottom: 0px !important;}”]Adi Osman<\/b> (lahir 1994, Padang) merupakan seorang penulis, kurator, dan pembuat filem. Ia pernah terlibat sebagai direktur artistik di Andalas Film Festival 2017-2018, kurator di Sumbar Film Festival 2018, kurator program regional Jogja-NETPAC Asian Film Festival 2020, dan kurator Jakarta Content Week 2022-2023. Saat ini ia aktif di Milisifilem Collective dan Garak.id.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724255078219{margin-bottom: 0px !important;}”]Adi Osman<\/b> (b.1994, Padang) is a writer, curator, and filmmaker. He was involved as artistic director in Andalas Film Festival 2017-2018, as a curator in Sumbar Film Festival 2018, curator for regional program of Jogja-NETPAC Asian Film Festival 2020, and curator for Jakarta Content Week 2022-2023. He is currently active in Milisifilem Collective and Garak.id.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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