{"id":12668,"date":"2024-08-26T09:27:45","date_gmt":"2024-08-26T02:27:45","guid":{"rendered":"https:\/\/arkipel.org\/?p=12668"},"modified":"2024-08-30T16:03:31","modified_gmt":"2024-08-30T09:03:31","slug":"2024ic07","status":"publish","type":"post","link":"https:\/\/arkipel.org\/2024ic07\/","title":{"rendered":"International Competition 7"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1724251765286{margin-bottom: 0px !important;}”]\n

Tatapan dan Beban yang Ditanggung
\n<\/b>Gaze and Burden to Bear<\/em>
\n<\/b><\/h1>\n

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Host: Adi Osman<\/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_1724251789284{margin-bottom: 0px !important;}”]Dalam <\/span>Pintu Tertutup<\/span><\/i> (1944) karya Jean-Paul Sartre, tiga karakter terjebak dalam suatu ruangan yang tertutup dan terkunci yang menyerupai ruang tunggu. Sartre mendorong imajinasi kita pada ide tentang neraka. Babak awal dimulai dengan kebingungan atas ide tentang neraka atau bukan, dan mereka mempertanyakan di mana alat-alat siksa dan siapa yang akan menyiksa mereka. Di sepanjang naskah ini, neraka tidak pernah disebutkan dan hanya berada dalam percakapan sebagai ide. Kemudian, masing-masing menarasikan tentang dirinya, mencitrakan dan mendeskripsikan hal baik atas diri masing-masing. Intervensi kepada citra mereka terjadi ketika menyadari bahwa mereka adalah \u201ckriminal\u201d dan oleh karena itu masuk neraka. Ketika Estelle ingin bercermin di mata Inez, citra orang lain mulai tergantung pada pandangan si penatap. Ketika diri berada di tatapan orang lain, maka diri tidak lagi dimiliki utuh olehnya, melainkan oleh tatapan orang lain. Orang lain menjadi objek bagi penatap untuk digoda, diganggu, dinilai, dihakimi, dan dirundung, menjadi penyiksa satu sama lain. Kenerakaan bukan penyiksaan dengan alat-alat sebagaimana agama mengimajinasikan, tetapi didefinisikan dengan kehadiran orang lain dan pandangannya terhadap satu sama lain. \u201cNeraka adalah orang lain,\u201d disertai pandangan yang menjadi alat siksa.<\/span><\/p>\n

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Dalam tatapannya, orang lain menjadi objek, sumber informasi untuk diobservasi dan kemudian \u201cdikontrol\u201d. Sebagaimana dalam panoptikon Foucault, tatapan (yang hadir dari indeks kehadiran manusia) dari menara pengawas kepada objeknya, yaitu tahanan di penjara yang melingkari menara. Selain arsitektur menara dan penjara yang melingkar, tatapan pula menjadi arsitektur dalam pengawasan dan kontrol. Tatapan yang membangun kesadaran merasa diawasi. Tatapan yang menundukkan orang yang ditatap.\u00a0<\/span><\/p>\n

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Edward Said mengajarkan untuk melakukan pembesaran pada karakter yang dikarang. Karakterisasi yang mengondisikan persepsi hingga menjadi suatu pandangan atasnya. Karakter dan karakterisasi yang dikarang oleh agen imperialisme Barat di wilayah Selatan. Dengan menelaah tulisan-tulisan tersebut dan ajaran yang kemudian mengekstraksi objek yang diajarkan, dan menemukan ada suatu pandangan atas wilayah Selatan. Pandangan bahwa orang-orang di Selatan itu terbelakang. Bahkan, dengan pandangan itu menjadi legitimasi bagi Barat untuk mengontrol (mengawasi dan menguasai) wilayah Selatan<\/span>. Sekali lagi, pandangan menjadi aparatus kontrol bagi penatap.\u00a0<\/span><\/p>\n

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Ketiga filem dalam kuratorial ini bisa dilihat sebagai upaya \u201cmembongkar\u201d tatapan dan mencari celah yang ada dari struktur tatap-menatap. <\/span>Togoland Projections <\/span><\/i>(2023) karya J\u00fcrgen Ellinghaus, mengupayakan dekolonisasi tatapan penjajah di Togo dengan membawa kembali filem yang direkam pada masa kolonial Jerman. Filem oleh kolonial ini kemudian diputar di beberapa lokasi, ditonton oleh warga Togo, untuk ditatap balik oleh anak-cucu yang nenek moyangnya dahulu ditatap kolonial. Pemutaran-pemutaran itu memicu pembicaraan seputar sejarah, nenek moyang, dan situasi sosial di masa kolonial. Melalui pemutaran itu terjadi semacam tatapan balik, dan ini menjadi suatu celah dari bagaimana suatu tatapan pernah mengontrol yang ditatap. Membangun kesadaran akan bagaimana situasi di masa kolonial dan legasinya sampai hari ini merupakan upaya awal untuk mendekolonisasinya.\u00a0<\/span><\/p>\n

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Death in Jenin<\/span><\/i> (2024) karya Chris Giamo, memperlihatkan suatu konsensus dan kontestasi antara penatap dan yang ditatap, bahkan sangat mungkin mempengaruhi realitas secara langsung. Di tengah tatapan Amerika dan tatapan lain yang membenarkan genosida pada warga Palestina, filem ini berusaha membuat celah pada tatapan tersebut. Si perekam yang berasal dari Amerika, suatu kali ditanyakan oleh seorang nenek di jalanan Jenin, tentang dari mana ia berasal. Kepada nenek ini ia mengakui dari Amerika, tetapi tidak membawa tatapan resmi Amerika, justru yang \u201cmencintai\u201d warga Palestina. Pada waktu lain, beberapa anak muda di jalanan menanyakan asal si perekam. Di sini si perekam tidak menjawab sama sekali, karena bila mengakui, sangat mungkin dirinya ditatap dengan permusuhan dan diperlakukan tidak baik. Meskipun, secara keseluruhan, filem ini bisa dibilang sebagai upaya menyaksikan realitas yang kejam di Palestina dan membagikannya sebagai upaya melawan tatapan resmi Amerika.\u00a0<\/span><\/p>\n

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Ada satu hal yang sama dari kedua filem di atas dan penting untuk dilihat. Kedua sineas merupakan warga dari negara penjajah. Jerman yang pernah menjajah Togo dan Amerika yang sampai sekarang masih mendukung Israel untuk mengekspansi Palestina. Pada masa awal pasca-kolonial, banyak negara mantan penjajah yang secara resmi meminta maaf atas kekejaman masa lalu. Meskipun begitu, banyak kritik atas apologia tersebut, bahkan dianggap sebagai bentuk superioritas baru. Sineas <\/span>Togoland Projections<\/span><\/i>, barangkali menanggung beban atas perangai yang dilakukan negaranya di masa lampau. Tampil sebagai yang heroik di negara bekas jajahan akan menambah pekat model superioritas. Dengan hanya memberikan filem yang direkam oleh negaranya di masa kolonial ke warga Togo, sebagaimana filem memperlihatkan, membiarkan diskusi berjalan secara organik, sineas filem ini tampak berupaya meredam keheroikan, superioritas, atau <\/span>political correctness<\/span><\/i> yang sangat mungkin muncul. Sepertinya sineas filem ini menyadari beban yang diwarisi dari negaranya dan membawa kembali \u201cmilik\u201d warga Togo yang pernah \u201cdiambil\u201d dan hadir di sana untuk \u201cmengembalikan\u201d serta secara tidak langsung mengakui kesalahan masa lalu.\u00a0<\/span><\/p>\n

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Sementara itu, sineas <\/span>Death in Jenin<\/span><\/i>, mau tidak mau menanggung beban tatapan resmi negaranya. Oleh karena itu, kehadiran sineas ini di Palestina mungkin sangat berbahaya. Rasa takut akan bahaya pada dirinya tampak dari gestur kamera yang tidak stabil dan tiap sebentar melihat ke kiri dan kanan, sembari merekam situasi aktual. Meski diselimuti ketakutan imbas dari tatapan negaranya, ia seolah tidak mengamini tatapan resmi dari negaranya, dan mempertanyakan tatapan itu dengan melihat sendiri keadaan yang sebenarnya di lokasi, walau sangat berisiko.\u00a0\u00a0\u00a0<\/span><\/p>\n

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Agak berbeda dari kedua di atas, <\/span>Just a Thing<\/span><\/i> (2024) karya Marc Einsiedel, merupakan upaya memeriksa suatu pandangan pada yang asing dan bagaimana ingatan saat menatap memiliki konsekuensi lain dari struktur tatapan. Dalam filem ini, ada sekitar sepuluh orang di suatu lokasi yang sama diwawancarai tentang pengalaman dan ingatan mereka saat melihat sesuatu yang asing di langit. Masing-masing memiliki cara berbeda dalam menjelaskan yang asing itu. Secara bentuk, arah gerakan, dan gelap-terang dari sesuatu yang asing itu berbeda di setiap ingatan orang-orang. Akan tetapi, ada satu hal yang sama, yaitu mereka sama-sama melihat sesuatu yang asing di langit. Seolah sedang menelusuri bagaimana suatu pandangan pada yang lain\/yang asing mengkristal, tetapi tidak ada kristal apa pun. Sesuatu yang asing memang menjadi milik orang-orang yang menatapnya, dikonstruksi sesuai dengan ingatan masing-masing. Walaupun begitu, tatapan-tatapan terhadap sesuatu yang asing itu hanya menjadi tatapan biasa dan kehidupan sehari-hari tetap berlanjut. Apabila dalam dua filem di sebelumnya menanggung beban yang dilakukan oleh negaranya, baik di masa lampau atau sekarang, <\/span>Just a Thing<\/span><\/i> seolah melepaskan beban itu, dengan sama-sama menatap sesuatu yang asing dan menyikapinya sebagai hal biasa, untuk melihat hari ini yang siapa pun tidak mengetahui.\u00a0<\/span><\/p>\n



[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1724251811663{margin-bottom: 0px !important;}”]In Jean-Paul Sartre’s <\/span>No Exit<\/span><\/i> (1944), three characters are trapped in a closed, locked room that resembles a waiting room. Sartre stimulates our imagination to the idea of hell. The first act begins with confusion over the idea of hell or not, and they question where the instruments of torture are and who will torture them. Throughout the play, hell is never mentioned and is only an idea in the conversation. Then, each narrates about themselves, portraying and describing the good things about themselves. The intervention in their self-images occurs when they realize that they are “criminals” and therefore go to hell. When Estelle wants to see herself in Inez’s eyes, the image of the other begins to depend on the gaze of the gazer. When the self is in the gaze of others, it is no longer fully owned by it, but by the gaze of others. Other people become objects for the gazer to tease, annoy, judge, and bully, becoming each other’s tormentors. Hell is not torture with tools as religion imagines it but is defined by the presence of others and their gaze upon one another. “Hell is other people,” along with the gaze that becomes the instrument of torture.<\/span><\/p>\n

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In their gaze, other people become objects, sources of information to be observed and then “controlled”. As in Foucault’s panopticon, the gaze (which comes from the index of human presence) from the watchtower to its object, the prisoners in the prison that encircles the tower. In addition to the circular architecture of the tower and prison, the gaze becomes the architecture of surveillance and control. A gaze that creates a sense of being watched. A gaze that subdues the person being gazed at.<\/span><\/p>\n

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Edward Said taught to zoom in on the characters that are written. Characterizations that condition perception into a gaze upon it. Characters and characterizations written by agents of Western imperialism in the South. By examining these writings and teachings and then extracting the objects and found that there is a gaze on the South. The perception was that the people of the South were backward. In this way, it legitimized the West to control (surveil and dominate) the South<\/span>. Once again, the gaze becomes the apparatus of control for the gazer.<\/span><\/p>\n

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The three films in this curatorial can be seen as attempts to “deconstruct” the gaze and look for holes in the structure of the gaze. J\u00fcrgen Ellinghaus’s <\/span>Togoland Projections<\/span><\/i> (2023) attempts to decolonize the colonial gaze in Togo by bringing back a film recorded during the German colonial period. This colonial film was screened in several locations, watched by Togolese citizens, to be stared back at by the children and grandchildren whose ancestors had been stared at by the colonizers. The screenings triggered conversations about history, ancestors, and the social situation during the colonial period. Through the screenings, there is a kind of staring back, and this becomes a crack of how the gaze once controlled the gazed. Building awareness of how the situation in the colonial period and its legacy to this day is an initial effort to decolonize it.\u00a0<\/span><\/p>\n

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Chris Giamo’s <\/span>Death in Jenin<\/span><\/i> (2024) shows a consensus and contestation between the gazer and the gazed, even potentially affecting reality in real-time. In the context of the American gaze and other gazes that justify genocide against Palestinians, this film tries to create a crack in that gaze. The American filmmaker is once asked by a grandmother on the streets of Jenin about where he is from. He admits to her that he is from America, but does not carry the official American gaze, instead the one that “loves” Palestinians. Another time, some young people on the street asked the filmmaker where he was from. Here the filmmaker does not answer at all, because if he admits, it is very likely that he will be stared at with hostility and mistreated. Overall, though, the film is arguably an attempt to witness the atrocious reality of Palestine and share it as a counter to the official American gaze.<\/span><\/p>\n

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There is one thing that both films have in common that is important to look at. Both filmmakers are citizens of colonizing countries. Germany, which colonized Togo, and America, which still supports Israel’s expansion into Palestine. In the early post-colonial period, many former colonial powers formally apologized for past atrocities. However, many criticized this apology as a new kind of superiority. The filmmakers of <\/span>Togoland Projections<\/span><\/i>, perhaps, bear the burden of their country’s past actions. Being heroic in a former colony might enhance the model of superiority. By only giving Togolese citizens a film recorded by their country during the colonial period, as the film shows, letting the discussion run organically, the filmmaker seems to be trying to reduce the heroism, superiority, or political correctness that is very likely to emerge. It seems that the filmmaker realizes the burden inherited from his country and brings back the “property” of Togolese citizens who were once “taken” and are present there to “return” and indirectly acknowledge past mistakes.<\/span><\/p>\n

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Meanwhile, the filmmaker of <\/span>Death in Jenin<\/span><\/i> inevitably bears the burden of his country’s official gaze. Therefore, the filmmaker’s presence in Palestine may be very dangerous. His fear of danger is manifested in his unsteady camera gestures and briefly looking left and right while filming the actual situation. Despite being shrouded in fear due to his country’s gaze, he refuses to accept the official gaze of his country and questions that gaze by seeing the actual situation on location by himself, even though it is very risky.\u00a0\u00a0<\/span><\/p>\n

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Quite different from the above two, Marc Einsiedel’s <\/span>Just a Thing<\/span><\/i> (2024) is an attempt to examine the gaze at the other, and how the memory of gazing has other consequences on the structure of the gaze. In this film, about ten people in the same location are interviewed about their experiences and memories of seeing something strange in the sky. Each has a different way of describing the unknown. The form, direction of movement, and darkness-light of the object are different in each person’s memory. However, there is one thing in common: they all saw something unfamiliar in the sky. It is as if exploring how a gaze at the other\/stranger crystallizes, but there are no crystals whatsoever. The stranger is indeed owned by the people who gaze at it, constructed according to their memories. Even so, this gaze at the stranger simply becomes an ordinary gaze and everyday life continues. Whereas the previous two films bear the burden of what their countries have done, whether in the past or present, <\/span>Just a Thing<\/span><\/i> seems to let go of that burden, by collectively looking at the unfamiliar and responding to it as normal, to see a day that no one knows.<\/span><\/p>\n



[\/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 img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724252084504{margin-bottom: 0px !important;}”]\n

Togoland Projections<\/strong><\/h2>\n

Filmmaker <\/em>J\u00fcrgen Ellinghaus<\/strong> (West Germany<\/span>)
\nInternational Title<\/em> Togoland Projection
\n<\/strong>Country of Production<\/em>\u00a0 Ghana, Togo
\n<\/strong>Language<\/em>\u00a0 English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

96<\/span> min, Stereo, Digital, 16:9<\/span>, HD, Color<\/span>, 2023<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724252106259{margin-bottom: 0px !important;}”]Filem ini membawa kembali filem yang direkam pada masa kolonial Jerman ke Togo. Filem oleh kolonial ini kemudian diputar di beberapa lokasi, ditonton oleh warga Togo, untuk ditatap balik oleh anak-cucu yang nenek moyangnya dahulu ditatap kolonial. Pemutaran-pemutaran itu memicu pembicaraan seputar sejarah, nenek moyang, dan situasi sosial di masa kolonial. Melalui pemutaran itu terjadi semacam tatapan balik, dan ini menjadi suatu celah dari bagaimana suatu tatapan pernah mengontrol yang ditatap.<\/span><\/p>\n

 <\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724252127523{margin-bottom: 0px !important;}”]This film brings back a film recorded during the German colonial period to Togo. This colonial film was screened in several locations, watched by Togolese citizens, to be stared back at by the children and grandchildren whose ancestors had been stared at by the colonizers. The screenings triggered conversations about history, ancestors, and the social situation during the colonial period. Through the screenings, there is a kind of staring back, and this becomes a crack of how the gaze once controlled the gazed.<\/span><\/p>\n

 <\/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 img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724252169985{margin-bottom: 0px !important;}”]J\u00fcrgen Ellinghaus<\/strong><\/em>, lahir di Jerman Barat. Setelah belajar hukum dan ilmu politik di Berlin dan Paris, 1985-1997, bekerja lepas dan penulis\/produser untuk perusahaan radio publik Jerman dan Prancis. 1995-2004, manajer program dokumenter untuk perusahaan TV publik dan swasta di Prancis dan Jerman. Sejak 2004, pembuat film dokumenter independen.<\/span><\/p>\n

 <\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724252292619{margin-bottom: 0px !important;}”]J\u00fcrgen Ellinghaus<\/strong><\/em>, born in West Germany. After studies of law and political science in Berlin and Paris, 1985-1997, freelance work and author\/producer for German and French public radio companies. 1995-2004, documentary program manager for public and private TV companies in France and Germany. Since 2004, independent documentary filmmaker.<\/span><\/p>\n



[\/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=”12352″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724252524702{margin-bottom: 0px !important;}”]\n

Death in Jenin<\/strong><\/h2>\n

Filmmaker <\/em>Chris Giamo<\/strong> (United States<\/span>)
\nInternational Title<\/em> Death in Jenin
\n<\/strong>Country of Production<\/em>\u00a0 United States, Palestine, State of
\n<\/strong>Language<\/em>\u00a0 English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

22<\/span> min, Stereo, Digital, 16:9<\/span>, 4K, Color<\/span>, 2024<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724252551115{margin-bottom: 0px !important;}”]Di tengah tatapan Amerika dan tatapan lain yang membenarkan genosida pada warga Palestina, filem ini berusaha membuat celah pada tatapan tersebut. Dengan menyaksikan realitas yang kejam di Palestina dan membagikannya sebagai upaya melawan tatapan resmi Amerika.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1724252565359{margin-bottom: 0px !important;}”]In the context of the American gaze and other gazes that justify genocide against Palestinians, this film tries to create a crack in that gaze. By witnessing the atrocious reality of Palestine and share it as a counter to the official American gaze.<\/span>[\/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 img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724252637225{margin-bottom: 0px !important;}”]Chris Giamo<\/strong><\/em> adalah seorang pembuat filem dokumenter yang berbasis di Amerika Serikat. Selama dua puluh tahun terakhir, ia telah melakukan penelitian lapangan yang ekstensif di komunitas pengungsi dan zona konflik di seluruh dunia. Ia memiliki gelar MFA di Film Dokumenter & Video dari Universitas Stanford, MA di Film Dokumenter & Sejarah dari Universitas Syracuse, dan gelar BA di bidang Antropologi Budaya dari Universitas Notre Dame.<\/span><\/p>\n

 <\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724252663806{margin-bottom: 0px !important;}”]Chris Giamo<\/strong><\/em> is a documentary filmmaker based in the United States. For the past twenty years he’s carried out extensive fieldwork in refugee communities and conflict zones throughout the world. He holds an MFA in Documentary Film & Video from Stanford University, an MA in Documentary Film & History from Syracuse University, and a BA in Cultural Anthropology from the University of Notre Dame.<\/span><\/p>\n

 <\/p>\n[\/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_1724252865957{margin-bottom: 0px !important;}”]\n

Just a Thing<\/strong><\/h2>\n

Filmmaker <\/em>Marc Einsiedel<\/strong> (Kenia, Germany<\/span>)
\nInternational Title<\/em> Just a Thing<\/strong>
\nCountry of Production<\/em>\u00a0 Kenia, Germany
\n<\/strong>Language<\/em>\u00a0 Swahili, English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

16<\/span> min, Stereo, Digital, 16:9<\/span>, HD, Color<\/span>, 2024<\/span>[\/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 img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724252912962{margin-bottom: 0px !important;}”]Dengan menggunakan objek-objek ditemukan, Marc Einsiedel mengungkap isu terlupakan, mendokumentasikan absurditas, dan menantang persepsi penonton. Einsiedel juga tertarik pada fenomena marginal dan interaksi antara infrastruktur dengan ideologi politik. Ia menciptakan instalasi, pertunjukan, dan fotografi yang merefleksikan realitas, tetapi disajikan dalam konteks yang baru dan menantang.<\/span><\/p>\n

 <\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724252942056{margin-bottom: 0px !important;}”]Using found objects, Marc Einsiedel uncovers forgotten issues, documents absurdities, and challenges viewers’ perceptions. Einsiedel is also interested in marginalized phenomena and the interaction between infrastructure and political ideology. He creates installations, performances and photography that reflect reality, but are presented in a new and challenging context.<\/span><\/p>\n



[\/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_1724639216182{margin-bottom: 0px !important;}”]\n

Adi Osman<\/strong> (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><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1724639230735{margin-bottom: 0px !important;}”]\n

Adi Osman<\/strong> (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><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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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":[526,528,192],"jetpack_publicize_connections":[],"yoast_head":"\nInternational Competition 7 — ARKIPEL<\/title>\n<meta name=\"description\" content=\"A subtle disruption to the system arises from the daily lives of people on the "periphery", as reflected in two curated films here. 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