{"id":12903,"date":"2024-08-28T23:27:30","date_gmt":"2024-08-28T16:27:30","guid":{"rendered":"https:\/\/arkipel.org\/?p=12903"},"modified":"2024-08-28T23:39:32","modified_gmt":"2024-08-28T16:39:32","slug":"ic8","status":"publish","type":"post","link":"https:\/\/arkipel.org\/ic8\/","title":{"rendered":"International Competition 8: Behind the Dominant Gaze of the Rulers"},"content":{"rendered":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Kompetisi Internasional 8: Di Balik Tatapan Dominan Para Penguasa” css=”.vc_custom_1724862637592{margin-bottom: 0px !important;}”]Pada hari Minggu, 25 Agustus 2024, saya berkesempatan untuk menghadiri program penayangan ARKIPEL <\/span>Garden of Earthly Delights \u2013 11<\/span><\/i>th<\/span><\/i> Jakarta International Documentary and Experimental Film Festival. <\/span><\/i>Festival filem ini sudah dibuka sejak Sabtu, 24 Agustus 2024 dan dilanjutkan dengan sesi penayangan filem-filem yang berhasil lolos dalam kompetisi internasional dari 25 Agustus 2024 sampai 31 Agustus 2024 dan diakhiri dengan acara <\/span>Awarding night <\/span><\/i>pada 1 September 2024. Hari ini adalah hari pertama penayangan dan tampaknya para penonton antusias sekali untuk mengisi kursi-kursi bioskop Forum Lenteng di Jalan Haji Shibi, Jakarta Selatan ini.<\/span><\/p>\n

Kompetisi Internasional 8: Beberapa Memoar Samar dimulai pada jam 16:00 WIB dengan pembacaan kuratorial oleh selektor; <\/span>Otty Widasari<\/b>, dengan menyampaikan intisari kuratorial dari filem-filem terpilih. Ia membahas seputar eksterioritas kota yang mempengaruhi interioritas psikologis warganya. Penguasa melihat kota dengan tatapan voyeuristik layaknya mata media yang bergerak menjelajahi ruang-ruang urban, namun menihilkan tatapan balik tiap individu yang terselip di dalam interioritas agendanya yang tersembunyi.<\/span><\/p>\n

Tatapan-tatapan balik tersebut adalah sebuah pengintaian melalui alat-alat agenda para penguasa, seperti kamera pengawas dan juga gambar-gambar temuan yang tidak diketahui kepemilikannya. Agregat tersebut disadur dan diramu oleh para sutradara untuk mereproduksi kembali sebuah tatapan balik yang mengintai kembali agenda yang ditetapkan para penguasa, menggeser eksterioritas kota dengan menyelipkan sebuah agenda baru dalam <\/span>image-image<\/span><\/i> yang sudah dikukuhkan. Kurasi ini adalah sebuah narasi yang tidak dikehendaki, bersamaan dengan itu juga sebuah alat untuk mengekspresikan respon, kritik, dan bahkan pembebasan dengan bahasa yang tersembunyi. Melalui filem-filem terpilih, dinyatakan bahwa identitas terasing sedang mengucapkan sebuah bahasa tersembunyi yang menantang pandangan dominan penguasa dalam realitas urban.<\/span><\/p>\n

Berdasarkan kurasi tersebut, saya membayangkan filem-filem ini akan menyodorkan sekumpulan <\/span>found footage<\/span><\/i> yang merekam beragam fenomena di dalam sebuah lanskap urban. Atau lebih spesifiknya lagi, saya mengharapkan kamera-kamera yang menyelinap dimontase sedemikian rupa agar dapat merekontekstualisasi kekerasan di dalam sistem urban. karena bagi saya, kota dengan area-area komersilnya yang mapan dan luar biasa besar itu akan senantiasa menyembunyikan realitas gelap yang terlepas dari tatapan para penguasa.<\/span><\/p>\n

Harapan saya ternyata sudah dapat dipuaskan pada filem pertama dan saya tidak lagi khawatir dengan filem-filem selanjutnya. diawali dari <\/span>The Kittens\u2019s Tea Party<\/span><\/i> (2022) oleh <\/span>Millefeuille<\/b> asal Kanada, ia menggunakan <\/span>found footage<\/span><\/i> yang ditemukan kamera CCTV saat menangkap invasi oleh penyusup tak terduga di malam hari, yaitu binatang liar. Puma, beruang, atau bahkan gajah yang melewati pagar-pagar yang dibuat manusia dan berhadapan langsung dengan ruang domestik dan segala isinya. Saya tergugah dengan beberapa <\/span>footage<\/span><\/i> yang menunjukkan interaksi langsung antara hewan peliharaan dengan spesies yang tidak didomestifikasi tersebut, menunjukkan adanya agresi di ruang yang sebenarnya tidak mengenal batas. Karena batas-batas itu hanyalah sebuah garis imajiner yang tidak disepakati oleh entitas yang lain selain manusia. Filem ini menunjukkan histori dari invasi yang manusia lakukan, menetap di sana, dan memasang pancang untuk wilayah yang tidak bisa dimasuki, sementara binatang yang menginvasi garis batas tersebut tidak lain adalah sebuah simbol perlawanan atas kolonialisme.<\/span><\/p>\n

Filem selanjutnya yaitu <\/span>Difraksi<\/span><\/i> (2024) karya <\/span>Sigat Rambito<\/b> adalah sebuah filem <\/span>one take<\/span><\/i> yang merekam beragam fenomena yang dapat ditemukan di dalam lingkup urban. Dengan menggunakan efek kamera dan shot yang terus mengalir ke lantai bawah dan ke atas, filem ini adalah sebuah pengintaian dari kejadian keseharian dalam gaya hidup masyarakat perkotaan. Hanya dengan satu rekaman, kita dapat melihat konflik horizontal dari tiap individu, keberagaman identitas gender dari tiap orang, dan infrastruktur kota yang memaklumi kejadian-kejadian tersebut. Ruang publik adalah saksi bisu dari jaringan-jaringan sistem yang terbentuk yang memfasilitasi mereka untuk mereproduksi kembali sejarah kehidupan perkotaan yang diromantisir sebagai sebuah fenomena elit.<\/span><\/p>\n

Romansa-romansa perkotaan kembali ditunjukkan dengan estetika yang berbeda lewat filem <\/span>373, Pasteur Street<\/span><\/i> (2023) oleh <\/span>Ismael<\/b>. Filem ini seperti sebuah visualisasi dari surat yang ia temukan di Beirut sebelum dan setelah pengeboman terjadi. Sebuah surat cinta yang mengingatkan kelekatan identitas seseorang dengan kota ia tinggal. Di beberapa waktu, saya merasa filem ini seakan-akan sebuah <\/span>mockery<\/span><\/i> dari sebuah surat cinta yang sastraik terhadap suatu figur pembangunan yang kenyataannya hanya ada kekerasan yang tersisa di sana. Kegagalan pembangunan ditunjukkan dari puing-puing kota dan pekerja-pekerja gedung yang bersusah payah mempertahankan memori dan nostalgia tentang kota yang tidak pernah hancur.<\/span><\/p>\n

Nostalgia kota juga dihadirkan di filem selanjutnya, yaitu <\/span>Of Times and Memories<\/span><\/i> (2024) karya <\/span>Jaime Marques Cordero<\/b>. Filem ini berisi rekaman-rekaman kasar saat si sutradara masih kanak-kanak dan hidup bersama saudaranya. Nostalgia ini tidak pernah lepas dari bagaimana anak-anak menangkap realitas di ruang-ruang yang mereka tempati. Mereka memainkan jungkat-jungkit dengan cara yang tidak biasa, mereka berkumpul bersama keluarga, dan secara tidak langsung juga memainkan peran di dalam sebuah keluarga nuklir.<\/span><\/p>\n

Vague Du Midi<\/span><\/i> (2023) karya <\/span>Sylvain Dufayard<\/b> menyuguhkan realitas yang lebih tajam atas kota. Filem ini memperlihatkan kekerasan sebenarnya yang selalu dihilangkan oleh tatapan penguasa lewat kacamata sebuah keluarga kecil di masyarakat kelas bawah. Selain itu, filem ini juga menunjukkan kekerasan yang juga dihilangkan dalam sebuah peta geografi dan skalanya yang secara tidak langsung mengaburkan pandangan kita atas adanya kekerasan. Tidak memiliki rumah, dua bersaudara dan seorang perempuan tua tinggal di sebuah tenda di pinggiran kota. Namun, karena adanya proyek pembangunan yang disetujui pemerintah, keluarga kecil ini harus menghadapi penggusuran tenda kecil mereka atas nama pemajuan dan sentralisasi pembangunan. Objek-objek lain yang tertangkap kamera memperlihatkan hadirnya upaya perlawanan dari berbagai pihak, seperti vandalisme di bangunan-bangunan kota.\u00a0<\/span><\/p>\n

Kemudian filem terakhir, yaitu <\/span>March 8<\/span><\/i>th<\/span><\/i> 2020, A Memoir <\/span><\/i>(2023) karya <\/span>Firat Yucel<\/b> adalah filem favorit saya dari 6 filem yang sudah ditayangkan. Filem ini memperlihatkan isu yang paling nyata yang dengan sengaja dinihilkan oleh tatapan penguasa demi kebutuhan turistik. Penguasa melakukan segala cara demi membangun identitas kota yang aman, mapan, dan tidak boleh dilewatkan jika kita berlibur. Kamera turis dipasangkan di banyak lokasi di Turki melalui banyak pertimbangan untuk meredam realitas perlawanan yang dilakukan masyarakat. Banyak aksi massa yang digelar di Turki mulai dari <\/span>Women\u2019s March<\/span><\/i> dan <\/span>May Day<\/span><\/i> yang tidak terekam kamera turistik, sehingga filem ini dibuat untuk melacak kembali gerakan yang terjadi di sana lewat pandangan pemerintah dan memori dari para demonstran.\u00a0<\/span><\/p>\n

Setelah sesi penayangan, diadakan sesi diskusi mengundang Sigat Rambito selaku sutradara filem <\/span>Difraksi<\/span><\/i>. Ia menjelaskan difraksi atau rambatan cahaya yang dapat berbelok ketika beradu yang menginspirasinya membangun estetika tersebut di filemnya untuk mengamplifikasi memori di suatu tempat secara visual. Ia menjelaskan teknis produksi filem ini diawali dari pemilihan lokasi di Blok M dengan <\/span>shoot<\/span><\/i> tilting <\/span><\/i>dan <\/span>panning <\/span><\/i>dari lantai dua dan bereksperimen dengan reaksi orang di luar aktor menyaksikan skenario yang terbangun. Untuk <\/span>scoring, <\/span><\/i>Sigat bekerja sama dengan Mondiblanc dimana ia merekam suara langsung kemudian pihak <\/span>sound lab<\/span><\/i> Mondiblanc mengedit beberapa suara untuk menstimulus visualnya untuk bekerja.<\/span><\/p>\n

Dari kurasi filem ini, terpikirkan oleh saya akan realitas antroposen, yaitu zaman dimana manusia menjadi pusat pergerakan sistem dunia. Kota yang dipenuhi objek-objek antropogenik dan kekerasan yang terus direproduksi di dalamnya sudah menjadi padu dan membentuk jaringannya sendiri, jaringan yang khas dari eksistensi manusia. Alam yang dihancurkan demi kemajuan peradaban, ironisnya justru menimbulkan kekerasan-kekerasan baru yang semakin menyingkirkan mata-mata yang juga dapat menilai. Mata ini adalah kita, masyarakat yang menyadari bahwa kuasa selalu hadir dan tantangan baru juga selalu hadir selama kita mengumandangkan perlawanan. Filem-filem ini adalah bukti dari perlawanan atas hak yang seharusnya kita terima, suara yang selalu dirampas demi pembangunan, dan mata-mata yang merebut kembali lahan bermain kita.<\/span><\/p>\n[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1672356843702-2655322e-0974″][vc_column_text title=”International Competition 8: Behind the Dominant Gaze of the Rulers” css=”.vc_custom_1724863166710{margin-bottom: 0px !important;}”]On Sunday, 25 August 2024, I had the opportunity to attend the screening program of ARKIPEL <\/span>Garden of Earthly Delights – 11th Jakarta International Documentary and Experimental Film Festival<\/span><\/i>. This film festival has been open since Saturday, August 24, 2024 and followed by screening sessions of films that have qualified in the international competition from August 25, 2024 to August 31, 2024 and ended with the Awarding night on September 1, 2024. It was the first day of the screening and it seemed that the audience was very enthusiastic to fill the seats of the Forum Lenteng cinema on Jalan Haji Shibi, South Jakarta.<\/span><\/p>\n

The International Competition 8: Vague Memoirs started at 6pm with a curatorial opening by the selector; <\/span>Otty Widasari<\/b>, who delivered the curatorial essence of the selected films. She discussed the exteriority of the city that affects the psychological interiority of its citizens. The authorities see the city with a voyeuristic gaze like the eyes of the media that moves through urban spaces, but neglects the counter gaze of each individual embedded in the interiority of its hidden agenda.<\/span><\/p>\n

The counter-gaze is a surveillance through the tools of the rulers’ agenda, such as surveillance cameras and also found images whose ownership is unknown. These aggregates are adapted and mixed by the directors to reproduce a counter-gaze that looks back at the agenda set by the rulers, shifting the exteriority of the city by inserting a new agenda within the established images. This curation is an unintended narrative, at the same time a tool to express response, criticism, and even liberation with a hidden language. Through the selected films, it is stated that alienated identities are speaking a hidden language that challenges the dominant view of the authorities in urban reality.<\/span><\/p>\n

Based on the curation, I expected these films to offer a set of found footage that records various phenomena in an urban landscape. Or more specifically, I expected the sneaking cameras to be montaged in such a way as to recontextualize violence in the urban system. Because for me, the city with its established and enormous commercial areas will always hide a dark reality that escapes the gaze of the authorities.<\/span><\/p>\n

My expectations were apparently satisfied in the first film and I was no longer worried about the following ones. Starting with <\/span>The Kittens’ Tea Party<\/span><\/i> (2022) directed by Canadian filmmaker, <\/span>Millefeuille<\/b>, he uses found footage from CCTV cameras to capture the invasion by unexpected intruders at night, wild animals. Puma, bear, or even elephant crossing the man-made fences and coming face to face with the domestic space and everything in it. I was intrigued by some of the footage showing direct interactions between pets and these non-domesticated species, showing aggression in a space that knows no boundaries. Because boundaries are just imaginary lines that are not agreed upon by entities other than humans. The film shows the history of human invasion, dwelling there and placing stakes in the territory that cannot be entered, while the animals that invade the boundaries become symbols of resistance to colonialism.<\/span><\/p>\n

The next film, <\/span>Difraksi<\/span><\/i> (2024) by <\/span>Sigat Rambito<\/b>, is a one take film that captures the various phenomena found in the urban sphere. Using camera effects and shots that keep flowing downstairs and upstairs, this film is a voyeuristic look at the daily happenings in the urban lifestyle. With just one shot, we can see the horizontal conflicts of individuals, the diverse gender identities of people, and the city infrastructure that tolerates these events. The public space is a silent witness to the networks of systems that exist to facilitate them to reproduce the history of urban life that is romanticized as an elite phenomenon.<\/span><\/p>\n

Urban romances are again shown with a different aesthetic through <\/span>Ismael<\/b>‘s film <\/span>373, Pasteur Street<\/span><\/i> (2023). This film is like a visualization of a letter he found in Beirut before and after the bombing. A love letter that reminds the bond between one’s identity and the city they live in. At some point, I felt like the film was a mockery of a literatic love letter to a figure of development where only violence remains. The failure of development is shown in the ruins of the city and the building workers who struggle to maintain the memory and nostalgia of a city that has never been destroyed.<\/span><\/p>\n

Urban nostalgia is also present in the next film, <\/span>Of Times and Memories<\/span><\/i> (2024) by <\/span>Jaime Marques Cordero<\/b>. The film contains grainy recordings when the director was a child and lived with his brother. This nostalgia is never separated from how children capture reality in the spaces they live in. They play seesaws in an unusual way, they get together with family, and indirectly also play a role in a nuclear family.<\/span><\/p>\n

Vague Du Midi<\/span><\/i> (2023) by <\/span>Sylvain Dufayard<\/b> shows a sharper reality of the city. The film portrays the real violence that is always omitted by the ruling gaze through the eyes of a small family in the lower class. In addition, the film also shows violence that is also erased in a map of geography and scale that indirectly blurs our view of the existence of violence. Homeless, two brothers and an old woman live in a tent in the suburbs. However, due to a government-approved development project, this small family must face the eviction of their small tent in the name of promoting and centralizing development. Other objects captured on camera show the presence of resistance efforts from various groups, such as vandalism on city buildings.\u00a0<\/span><\/p>\n

The last film, <\/span>March 8th 2020, A Memoir <\/span><\/i>(2023) by <\/span>Firat Yucel<\/b> is my favorite of the six films shown. It presents the most obvious issue that is deliberately ignored by the gaze of the authorities for the sake of tourism. They do everything they can to establish the identity of a city being safe, established, and worthy of a vacation. Tourist cameras are installed in many locations in Turkey through many considerations to reduce the reality of resistance by the people. Many mass actions held in Turkey ranging from the Women’s March and May Day were not recorded by tourist cameras, so this film was made to retrace the movements that occurred there through the views of the government and the memories of the demonstrators.\u00a0<\/span><\/p>\n

After the screening session, a discussion session was held inviting Sigat Rambito as the director of <\/span>Difraksi<\/span><\/i> (<\/span>Diffraction<\/span><\/i>). He explained that diffraction or the propagation of light that can bend when it collides inspired him to build this aesthetic in his film to visually amplify the memory of a place. He also explained that the technical production of this film began with choosing a location in Blok M by tilting and panning shots from the second floor and experimenting with the reactions of people outside the actors watching the scenario that was built. For scoring, Sigat worked with Mondiblanc where he recorded the sound directly and then the Mondiblanc edited some sounds to stimulate the visuals to work.<\/span><\/p>\n

Based on the curation of this film, I thought about the reality of the Anthropocene, an era where humans are the center of the world system. The city filled with anthropogenic objects and the violence that is constantly reproduced in it has become solidified and formed its own network; a unique network of human existence. Nature, which is destroyed for the sake of civilization, ironically generates new violence that increasingly excludes the eyes which can also judge. These eyes are us, the people who are aware that power is always present and new challenges exist as long as we resist. These films are evidence of resistance to the rights we should have received, the voices that are always suppressed for the sake of development, and the eyes that reclaim our playground.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”12885,12886,12887,12884,12888,12889,12890,12891″ img_size=”full”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Kompetisi Internasional 8: Di Balik Tatapan Dominan Para Penguasa” css=”.vc_custom_1724862637592{margin-bottom: 0px !important;}”]Pada hari Minggu, 25 Agustus 2024, saya berkesempatan untuk menghadiri program penayangan ARKIPEL Garden of Earthly Delights \u2013 11th Jakarta International Documentary and Experimental Film Festival. Festival filem ini sudah dibuka sejak Sabtu, 24 Agustus 2024 dan dilanjutkan dengan sesi […]<\/p>\n","protected":false},"author":168,"featured_media":12884,"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":[687,672,345,384,1,385,344,359],"tags":[674,737,734,735,675,732,410,733,736],"jetpack_publicize_connections":[],"yoast_head":"\nInternational Competition 8: Behind the Dominant Gaze of the Rulers — ARKIPEL<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arkipel.org\/ic8\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"International Competition 8: Behind the Dominant Gaze of the Rulers — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Kompetisi Internasional 8: Di Balik Tatapan Dominan Para Penguasa” css=”.vc_custom_1724862637592{margin-bottom: 0px !important;}”]Pada hari Minggu, 25 Agustus 2024, saya berkesempatan untuk menghadiri program penayangan ARKIPEL Garden of Earthly Delights \u2013 11th Jakarta International Documentary and Experimental Film Festival. 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