{"id":13103,"date":"2024-09-05T10:46:14","date_gmt":"2024-09-05T03:46:14","guid":{"rendered":"https:\/\/arkipel.org\/?p=13103"},"modified":"2024-09-05T11:06:07","modified_gmt":"2024-09-05T04:06:07","slug":"curatorial-3","status":"publish","type":"post","link":"https:\/\/arkipel.org\/curatorial-3\/","title":{"rendered":"Curatorial Program: What Spaces Are Yet to Come"},"content":{"rendered":"[vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”Bahasa Indonesia” tab_id=”1672356843695-e131d52d-9a0e”][vc_column_text title=”Program Kuratorial: Ruang Seperti Apa yang Akan Datang” css=”.vc_custom_1725509100485{margin-bottom: 0px !important;}”]Apa yang akan kita lakukan ketika tubuh tidak lagi bebas, apakah kita akan mengarungi ombak di lautan atau malah membelah bukit. Hal itu yang mungkin dilakukan, tapi ada batas dari tulang berbalut daging yang diberi nyawa. Ada batas waktu, jarak dan tenaga yang harus kita kerahkan untuk melalui itu semua. Kita sebagai makhluk yang berakal pasti akan mencari jalan keluar. Itu semua dilakukan tidak untuk diri sendiri melainkan untuk semua yang bergesekan dengan kehidupan sehari hari.\u00a0<\/span><\/p>\n

Ruang-ruang yang berkelindan dalam hidup, melatih sensorik tubuh untuk terus mencoba menembus batas-batasnya. Ruang itu ada kalanya hilang dan ada kalanya kita dapat membuatnya kembali. Terkadang tersimpan dalam memori ketika sudah terabadikan dan terkadang ia datang untuk ditampilkan ke dalam bentuk yang baru.<\/span><\/p>\n

(mungkin) sebuah tujuan<\/span><\/i> adalah kuratorial dari <\/span>Phoebe Wong<\/b> dan <\/span>Shan Cung <\/b>di <\/span>ARKIPEL <\/span>Garden of Earthly Delights – 11th Jakarta International Documentary and Experimental Film Festival<\/span><\/i>. Program ini dipersembahkan oleh Videotage, sebuah organisasi seni yang berbasis di Hongkong. Ya sungguh jauh mereka menembus ruang yang dibatasi oleh jarak geografis sehingga sampai ke Forum Lenteng. Dalam program kuratorial ini, Videotage membawa 14 karya dari 12 seniman untuk ditampilkan di rangkaian festival ARKIPEL. Beberapa waktu lalu adalah sesi pertama pemutaran film dari Videotage dilengkapi dengan diskusi bersama sang seniman yaitu Jess Lau. Walaupun di tengah diskusi yang sedang berlangsung, ruangan itu diselimuti oleh kegelapan malam dikarenakan terjadinya mati lampu yang menambah intimnya diskusi malam itu.\u00a0\u00a0<\/span><\/p>\n

Malam itu adalah sesi kedua pemutaran film dari bagian kuratorial tersebut Pemutaran dibuka oleh<\/span> Train, Point Nemo, Astronaut and Starling<\/span><\/i> (2020) karya dari <\/span>LIN Tzu – Huan<\/b>. Karya ini membawa penonton ke dalam dua penggambaran antara fiksi dan nyata, hal itu ia gambarkan melalui penggambaran ruang realita dan ruang imajiner. Visual-visual yang ditampilkan mencoba menelisik perubahan manusia dari waktu ke waktu dan hubungan mereka dengan ruang yang mereka tempati. Film kedua <\/span>Farewell Poem<\/span><\/i> (2002) dari <\/span>CHEN Qiulin<\/b> membawa kita melihat memori tentang pemukiman imigran yang dipindahkan meninggalkan kenangan akan tubuh yang terpaut dengan lokasi tersebut. Tubuh meresponnya dengan pertunjukan opera di reruntuhan bangunan yang saling terkait satu sama lain. Ketiadaan dialog seolah menjadi interpretasi akan ketidakberdayaan akan penghancuran ruang tersebut.\u00a0<\/span><\/p>\n

Molting Cities – O Sole Nio<\/span><\/i> (2014) karya<\/span> Yves Etienne SONOLET<\/b>, perpaduan hibrida visual dari masa lalu dan masa kini sebuah kota membawa lebih jauh ingatan akan ruang yang\u00a0 berubah dari waktu ke waktu. Musik yang hadir sepanjang film dapat diartikan sebagai bentuk kerinduan akan keindahan suatu tempat yang tersimpan di dalam memori ingatan. <\/span>Plus-Minus-Zero<\/span><\/i> (2010) dari <\/span>Morgan WONG<\/b> memadukan antara gerakan yang maju dan mundur pada sebuah lanskap pegunungan es waktu yang berjalan terbalik. Waktu\u00a0 di antara dua tempat menjadi pembacaan tentang keterikatan dua ruang yang saling berhubungan satu sama lain. <\/span>Kingswin Oath<\/span><\/i> (2021) karya <\/span>Samson WONG<\/b> adalah perpaduan gambar tentang sebuah ruangan studio tempat seniman bekerja dengan pemindaian 3D. Video ini merefleksikan keresahan seniman muda ketika memilih\u00a0 seni sebagai pilihan karier.\u00a0<\/span><\/p>\n

Black Moves<\/span><\/i> (2019) karya <\/span>Carla CHAN<\/b> menampilkan lanskap visual, memantik sensori akan perpaduan massa hitam yang terus bergerak dengan bentuk tidak terbatas. Transformasi magis yang terus menerus bergerak memukau ruang indera, hal ini bisa juga representasi dari ruang imajinatif dunia eksternal dari jiwa yang dalam. Sementara <\/span>YUEN Nga Chi<\/b> hadir dengan dua karyanya, <\/span>Mui <\/span><\/i>(2021) dan <\/span>Monuments Flipper, Ada and Honey Chapter 1: Ada<\/span><\/i> (2023). Ruangan bioskop kali ini menjadi spesial karena hadirnya Chi pada saat sesi Q&A sesudah pemutaran yang dipandu Shan Chung dan <\/span>Alifah Melisa<\/b>.\u00a0<\/span><\/p>\n

Sebagai satu satunya seniman yang hadir dari sesi kedua kuratorial ini cukup banyak yang bisa diceritakan Chi. <\/span>Mui <\/span><\/i>hadir dari kebingungan antara ruang nyata dan ruang mimpi, pertanyaan akan realita menimbulkan hadirnya sensori tubuh dengan cara memberikan sedikit rasa sakit padanya adalah cara untuk tetap merasa hidup pada kenyataan. Objek dan benda yang hadir berbaur dengan tubuh dalam realita, menstimulasi\u00a0 fantasi bahwa mereka akan meledak. Ada yang beda dari karya selanjutnya, <\/span>Monuments Flipper, Ada and Honey Chapter 1: Ada<\/span><\/i> dimana hasil dari pengalaman pribadi Chi yang memantiknya untuk melakukan riset terhadap kehidupan lumba-lumba putih Cina. Ia yang saat itu bekerja di sebuah <\/span>Ocean Park<\/span><\/i> melihat bagaimana kehidupan binatang dibatasi dengan ruang kecil, habitatnya yang seharusnya di alam yang luas direnggut oleh manusia dengan cara subordinasi terhadap binatang. Pembangunan juga menjadi salah satu yang mengganggu habitat asli lumba-lumba yang hidup di laut, manusia tidak lagi menghuni daratan yang sudah ada, tetapi memperjauh invasi mereka ke laut sehingga mengganggu ruang hidup makhluk laut. Ruang-ruang yang di invasi manusia membuat lumba-lumba putih Cina migrasi ke tempat yang lebih jauh. sejauh mana mereka bisa pergi jika manusia terus memvalidasi tindakan perusakan mereka terhadap alam?\u00a0<\/span><\/p>\n

Permainan visual tryptich<\/em> dalam video ini merefleksikan gabungan antara waktu dan ruang ada kalanya berhenti dan ada kalanya sesuatu berubah dengan cepat. Sebelum diskusi bersama Chi, Videotage yang diwakili Phoebe Wong mempresentasikan kerja-kerja \u00a0 \u00a0 videotage yang sudah lebih dari 35 tahun. Kerja Videotage kebanyakan bergerak pada <\/span>video art<\/span><\/i> dan penjagaan arsip. Ada yang menarik selama presentasi yaitu pertanyaan-pertanyaan dari hadirin yang datang tentang bagaimana kondisi kesenian di Hongkong pasca kembali di bawah naungan pemerintah Cina. Shan dan Phoebe Menjelaskan perjalanan mereka dalam meneliti arsip Videotage menemukan perubahan dari generasi ke generasi melalui arsip-arsip yang ada, serta perubahan sebelum dan sesudah kembalinya Hongkong di bawah Cina. Hasil dari keseluruhan pemutaran dan diskusi yang dapat kita baca adalah sebagai makhluk yang membutuhkan wadah untuk terus hidup serta kebutuhan akan kebebasan, kita selalu saja dibatasi oleh regulasi-regulasi yang disahkan secara subordinasi dan non konsensus. Apakah kita harus meninggalkan ruang tersebut atau menetap dan berusaha menciptakan perubahan untuk ruang hidup yang lebih baik.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1672356843702-2655322e-0974″][vc_column_text title=”Curatorial Program: What Spaces Are Yet to Come” css=”.vc_custom_1725509136264{margin-bottom: 0px !important;}”]What will we do when our bodies are no longer free, whether we will ride the waves of the ocean or break the hills. That may be possible, but there are limits to the bones wrapped in flesh that are given life. There is a limit to the time, distance and energy we can spend to get through it all. We as intelligent beings will definitely find a way out. It is all done not for ourselves but for those who are dealing with our daily lives.\u00a0<\/span><\/p>\n

The spaces that are intertwined in life, train the body’s sensory to keep trying to push through its boundaries. Sometimes those spaces are lost and sometimes we can recreate them. Sometimes they are stored in memory when immortalized and sometimes they come to be displayed in a new form.<\/span><\/p>\n

(maybe) somewhere to go<\/span><\/i> was the curatorial theme of <\/span>Phoebe Wong<\/b> and <\/span>Shan Cung <\/b>at <\/span>ARKIPEL <\/span>Garden of Earthly Delights – 11th Jakarta International Documentary and Experimental Film Festival<\/span><\/i>. This program was presented by Videotage, a Hong Kong-based arts organization. Well, what a long way they went through the space limited by geographical distance to get to Forum Lenteng. In this curatorial program, Videotage brought 14 works from 12 artists to be screened at the ARKIPEL program. A while ago was the first session of films screening from Videotage accompanied by a discussion with the artist, Jess Lau. Even in the midst of the discussion, the room was shrouded in darkness due to a blackout causing the discussion to become even more intimate.<\/span><\/p>\n

That evening was the second session of Videotage curatorial section. The screening was opened by <\/span>Train, Point Nemo, Astronaut and Starling<\/span><\/i> (2020) by <\/span>LIN Tzu – Huan<\/b>. This work brings the audiences into two portrayals between fiction and reality, illustrated through the depiction of reality space and imaginary space. The visuals examine human changes over time and their relationship with the space they live in. The second film <\/span>Farewell Poem<\/span><\/i> (2002) by <\/span>CHEN Qiulin<\/b> takes us through the memory of a displaced immigrant settlement that remains a memory of the body attached to that location. The body responds with an opera performance in the ruins of buildings that are intertwined with each other. The absence of dialog seems to be interpreted as the helplessness of the space’s destruction.\u00a0<\/span><\/p>\n

In Molting Cities – O Sole Nio<\/span><\/i> (2014) by <\/span>Yves Etienne SONOLET<\/b>, a visual hybrid of the past and present of a city brings to mind a space that changes over time. The music throughout the movie can be interpreted as a form of longing for the beauty of a place stored in memory. <\/span>Plus-Minus-Zero<\/span><\/i> (2010) by <\/span>Morgan WONG<\/b> combines forward and backward movement in an icy mountain landscape when time is reversed. Time between two places becomes a recitation of the entanglement of two spaces that are interconnected with each other. <\/span>Kingswin Oath<\/span><\/i> (2021) by <\/span>Samson WONG<\/b> is a fusion of images of a studio room where artists work with 3D scans. The video reflects the anxiety of young artists when choosing art as a career choice.<\/span><\/p>\n

Black Moves<\/span><\/i> (2019) by <\/span>Carla CHAN<\/b> presents a visual landscape, igniting the senses with a fusion of black masses in perpetual motion with infinite forms. The magical transformation that continuously moves mesmerizes the sensory space, it could also be a representation of the imaginative space of the external world of the deep soul. While <\/span>YUEN Nga Chi<\/b> comes with two works, <\/span>Mui <\/span><\/i>(2021) and <\/span>Monuments Flipper, Ada and Honey Chapter 1: Ada<\/span><\/i> (2023). The screening was special because Chi was present during the post-screening Q&A session hosted by Shan Chung and <\/span>Alifah Melisa<\/b>.\u00a0<\/span><\/p>\n

As the only artist who attended the second curatorial program, Chi has quite a lot to tell. <\/span>Mui <\/span><\/i>comes from the confusion between real space and dream space, the question of reality raises the sensory presence of the body by giving a little pain to it is a way to still feel alive in reality. Objects and things mingle with the body in reality, stimulating the fantasy of being exploded. There is something different about the next work, <\/span>Monuments Flipper, Ada and Honey Chapter 1: Ada<\/span><\/i> is the result of Chi’s personal experience that inspired her to research the lives of Chinese white dolphins. At the time, she was working at an Ocean Park and saw how animals’ lives were limited to a small space, their habitats that should be in the vast nature were taken away by humans through subordination of animals. Development is also one of the things that disrupts the original habitat of dolphins living in the sea, humans no longer inhabit the land that already exists, but extend their invasion into the sea, thus disrupting the living space of marine creatures. The spaces invaded by humans make Chinese white dolphins migrate to farther places. How far can they go if humans continue to validate their destructive actions against nature?\u00a0<\/span><\/p>\n

The tryptich<\/em> visual in this video reflects the combination of time and space, where things stop and things change quickly. Before the discussion with Chi, Videotage, represented by Phoebe Wong, presented the work of Videotage that has been more than 35 years. Videotage’s work is mostly engaged in video art and archive preservation. What was interesting during the presentation were questions from the audience about the state of the arts in Hong Kong after it came back under the Chinese government. Shan and Phoebe explained their journey in researching the Videotage archive, finding changes from generation to generation through the archives, as well as changes before and after the return of Hong Kong under China. The result of the whole screening and discussion is that as human beings who need a place to live and the need for freedom, we are always limited by regulations that are passed by subordination and non-consensus. Whether we should leave the space or stay and try to create changes for a better living space.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”13112,13113,13114,13115,13116,13117″ img_size=”full”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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Ada batas waktu, jarak dan […]<\/p>\n","protected":false},"author":178,"featured_media":13115,"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":[687,672,345,384,1,385,359],"tags":[674,675,725],"jetpack_publicize_connections":[],"yoast_head":"\nCuratorial Program: What Spaces Are Yet to Come — 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\/curatorial-3\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Curatorial Program: What Spaces Are Yet to Come — 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=”Program Kuratorial: Ruang Seperti Apa yang Akan Datang” css=”.vc_custom_1725509100485{margin-bottom: 0px !important;}”]Apa yang akan kita lakukan ketika tubuh tidak lagi bebas, apakah kita akan mengarungi ombak di lautan atau malah membelah bukit. 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Ia memiliki ketertarikan mendalami kepenulisan, film, dan kebudayaan. Ia bergabung dan belajar bersama di komunitas Gubuak Kopi yang berbasis di Kota Solok, Sumatera Barat. Ia pernah terlibat dalam Tenggara Festival dan DIY Culture di Solok. ----- Riyan Putra Jaya Kelana (born in Palembang, July 16, 1999) is a musician and writer. He is interested in writing, film, and culture. He joins and learns together in the Gubuak Kopi community based in Solok City, West Sumatra. 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