{"id":13152,"date":"2024-09-09T01:30:12","date_gmt":"2024-09-08T18:30:12","guid":{"rendered":"https:\/\/arkipel.org\/?p=13152"},"modified":"2024-09-09T02:38:28","modified_gmt":"2024-09-08T19:38:28","slug":"curatorial-6","status":"publish","type":"post","link":"https:\/\/arkipel.org\/curatorial-6\/","title":{"rendered":"Curatorial Program: How Do We Emphasize the Invisible Labor of Those Who Sustain It?"},"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: Bagaimana kita menyoroti kerja tak terlihat dari mereka yang menjadi penopang kehidupan?” css=”.vc_custom_1725819647832{margin-bottom: 0px !important;}”]Ali AlAdawy<\/b>, kurator program <\/span>\u201cKami BUKANLAH buruh tak terlihat dari museum atau istanamu,\u201d kata Mereka<\/span><\/i> membuka sesi pemutaran kedua dari program ini yang berfokus pada isu-isu feminisme dan buruh di wilayah Timur Tengah dan Afrika Utara. Ia menjelaskan bahwa bagian dari program ini akan mengeksplorasi isu-isu tenaga kerja yang tidak terlihat dan citra artistik. Pemutaran filem yang diadakan pada Hari Jumat, 30 Agustus 2024 ini disambut dengan antusias oleh para penonton, yang kemudian dilanjutkan dengan sesi tanya jawab yang berlangsung selama kurang lebih satu jam.\u00a0<\/span><\/p>\n

Dua filem yang diputar pada sesi ini adalah <\/span>The Labor Theory of Artistic Value<\/span><\/i> (2024) karya <\/span>Mary Jirmanus Saba<\/b> dan <\/span>A Stone’s Throw<\/span><\/i> (2017) karya <\/span>Razan AlSalah<\/b>. Filem pertama menggali konsep dari nilai artistik dan bagaimana hal tersebut bersinggungan dengan kerja tak terlihat dari para seniman yang juga merupakan seorang ibu. Melalui pembacaan dan sekilas pengalaman sang pembuat, filem ini menawarkan eksplorasi yang menyentuh tentang tantangan dalam menyeimbangkan antara kerja kreatif dan tanggung jawab sebagai seorang ibu.<\/span><\/p>\n

Filem ini mengeksplorasi konsep nilai artistik dan bagaimana hal tersebut bersinggungan dengan ketenagakerjaan, khususnya tenaga kerja tak kasat mata dari para seniman yang juga merupakan seorang ibu. Filem ini menawarkan eksplorasi yang tajam tentang persinggungan antara kerja reproduksi gender dan tuntutan keibuan. Melalui pembacaan melalui teks yang diucapkan dan sekilas tentang bagaimana ia menyeimbangkan peran sebagai ibu dengan karya seninya, Mary Jirmanus Saba berbagi perspektifnya tentang tantangan dalam menyeimbangkan pekerjaan kreatifnya dengan tanggung jawab sebagai ibu. Dalam salah satu adegan, Mary sendiri diperlihatkan sedang memompa ASI sambil mengerjakan karya seninya, menunjukkan bahwa tanggung jawab sebagai ibu yang bekerja sebagai seniman tidak pernah berhenti.<\/span><\/p>\n

Sementara itu, dalam <\/span>A Stone’s Throw<\/span><\/i>, sutradara Razan AlSalah membawa kita pada isu bagaimana para pekerja Palestina membangun proyek kolonialisme pemukim Israel. Dalam filem ini, kita mengikuti Amine, seorang warga Palestina yang sudah lanjut usia yang terusir dari rumahnya. Saat ia berjalan, kita tenggelam dalam ingatan audio-visualnya tentang kisahnya saat ia bekerja di jalur pipa minyak di pulau Zirku. Kisah tentang pulau itu adalah bukti bagaimana proyek neo-kolonial yang dilakukan oleh zionis mengeksploitasi tenaga kerja orang-orang Palestina dan bagaimana kapitalisme serta industri minyak mengambil keuntungan darinya. Filem ini merupakan permainan jukstaposisi yang menakjubkan antara visual dan narasi. Alur ceritanya dibangun ketika penonton diperkenalkan dengan Amine yang terus berjalan sambil mengingat-ingat pengalaman masa lalunya, disertai dengan gambar-gambar peta digital yang diperbesar dan diperkecil ketika ia menceritakan kisahnya, dan beberapa cuplikan video tentang penyu serta apa yang tampak seperti tutorial animasi tentang bagaimana menangani keracunan di pabrik.<\/span><\/p>\n

Selama sesi tanya jawab, para penonton terlibat dalam diskusi yang menarik tentang isu-isu perburuhan yang dieksplorasi dalam filem-filem ini. <\/span>Valencia Winata<\/b>, yang juga merupakan salah satu kurator di ARKIPEL <\/span>Garden of Earthly Delights – 11th Jakarta International Documentary and Experimental Film Festival<\/span><\/i> mengungkapkan bahwa ia menyukai filem pertama, <\/span>The Labor Theory of Artistic Value<\/span><\/i>, karena pendekatannya yang mirip dengan filem dalam programnya, <\/span>The Skin of Mars<\/span><\/i> (2022) karya <\/span>Maite Redondo Gaztelu<\/b>. Kedua filem tersebut, menurutnya, memiliki semacam interaksi antara teks dan gambar, yang mencoba mengkomunikasikan apa yang tidak dapat dikomunikasikan. Penggunaan teks dalam filem ini sembari menunjukkan kepada penonton gambaran sekilas tentang keibuan merupakan cara yang sangat unik dan menarik untuk menyoroti kerja keras seniman yang juga seorang ibu. Salah satu adegan yang paling menarik baginya adalah ketika Mary membacakan esai kepada bayinya di tempat tidur dengan cara yang mirip dengan membacakan dongeng pengantar tidur, sebagai cara untuk mengaitkan teori yang sedang dibacanya ke dalam lanskap kehidupan sehari-hari sebagai seorang ibu yang juga berprofesi sebagai seorang seniman.\u00a0<\/span><\/p>\n

Ali selaku kurator mengungkapkan bahwa filem ini merupakan respons Mary terhadap perspektif <\/span>Silvia Federici<\/b> tentang upah pekerjaan rumah tangga. Berawal dari riset artistik yang membedah konsep cuti melahirkan, responnya terhadap Federici bukan tentang bagaimana seharusnya pekerjaan rumah tangga harus diberi upah, namun lebih kepada dekonstruksi dan pemikiran ulang tentang relasi kerja dari pekerjaan domestik. Pekerjaan rumah tangga harus dapat terlihat dan digunakan dalam perjuangan kita melawan kapitalisme, dan bagaimana hal tersebut harus dimasukkan dalam agenda kita. Ali ingin penonton melihat kepengarangan Mary dalam citra\/gambaran yang ditampilkan dalam filem ini, untuk membangkitkan perasaan yang ingin dikemukakan Mary bahwa pekerjaannya sebagai seniman terus-menerus diinterupsi oleh urusan mengasuh anak dan pekerjaan rumah tangga.\u00a0<\/span><\/p>\n

Ali dan Valen kemudian berbagi kesan mereka terhadap filem kedua, <\/span>A Stone’s Throw<\/span><\/i>. Filem ini mampu menghadirkan perasaan menjadi eksil ke dalam pengalaman inderawi kita saat kita melihat gambar-gambar datar dari peta yang mengacaukan perspektif kita mengenai suatu tempat. Gambar dari <\/span>Google Earth<\/span><\/i> yang datar dan artifisial, berbenturan dengan narasi yang hidup sehingga menimbulkan gambaran yang jelas dalam benak kita tentang tempat yang sedang dideskripsikan, yang membuat penonton merefleksikan dialektika antara narasi dan gambar yang dihadirkan. Jukstaposisi antara cerita tentang ayah pembuat filem yang tertekan oleh pekerjaannya yang dipasangkan dengan gambar propaganda berupa tutorial animasi tentang cara menangani keracunan di pabrik, dan jukstaposisi lain tentang pelepasan penyu di Abu Dhabi dari habitat aslinya ke dalam konservatori buatan, dengan cerita mengenai terlantarnya para pekerja pabrik dari negara asalnya, merupakan ironi-ironi yang disajikan dengan sangat apik di dalam filem ini.\u00a0<\/span><\/p>\n

Berkaitan dengan isu kelangkaan arsip Palestina sebelum tahun 1948–sebelum Israel berdiri, foto yang diperbesar menjadi piksel, narasi yang menceritakan kisah orang-orang dalam foto tersebut, merupakan sebuah upaya–sebuah pernyataan dari sang pembuat filem untuk menegaskan bahwa keberadaan para penduduk Palestina dan sejarahnya itu ada. Penonton lain, <\/span>Syarifa<\/b>, menyatakan bahwa visual peta digital dalam filem ini merupakan cara Razan untuk mendiskusikan gambaran mengenai keberpindahan dengan skala peta yang terus berubah sepanjang filem. Bahwa ketika kita melihat sebuah tempat melalui peta dalam skala tertentu, tambahnya, kita tidak dapat benar-benar melihat kekerasan yang terjadi di dalamnya. Imaji yang dihadirkan filem ini menawarkan cara baru dalam melihat persoalan ini.\u00a0<\/span><\/p>\n

Diskusi ditutup dengan pernyataan penting dari Ali. Ia mengatakan bahwa yang ditekankan dalam sesi ini adalah hubungan antara buruh dan tempat kerjanya. Jika filem-filem awal seperti karya <\/span>Lumi\u00e8re <\/b>bersaudara menunjukkan buruh pabrik yang meninggalkan tempat kerja mereka, maka dalam filem-filem pascakolonial, fokusnya lebih banyak pada penggambaran buruh yang sedang bekerja. Hal ini, menurut Ali, telah menjadi bentuk propaganda developmentalis, yang menampilkan gambaran ideal tentang pembangunan negara baru. Pernyataannya menggarisbawahi pentingnya memeriksa secara kritis representasi visual dari buruh, dan bagaimana representasi tersebut dapat digunakan untuk membentuk narasi dan mengaburkan realitas yang dihadapi oleh para buruh.<\/span>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”English” tab_id=”1672356843702-2655322e-0974″][vc_column_text title=”Curatorial Program: How do we emphasize the invisible labor of those who sustain it?” css=”.vc_custom_1725824822752{margin-bottom: 0px !important;}”]Ali AlAdawy<\/b>, the curator of the program \u201c<\/span>We are NOT the invisible labors of your palaces or museums,” they said<\/span><\/i>” introduced the second screening session of this program which focused on feminism and labor issues in the Middle East and North Africa region. He explained that this part of the program would explore the issues of invisible labor and artistic image. The screening, which was held on Friday, August 30th 2024 was received enthusiastically by the audiences, followed by an hour of Q&A discussion.\u00a0<\/span><\/p>\n

The two films being shown in this session were <\/span>Labor Theory of Artistic Value<\/span><\/i> (2024) by <\/span>Mary Jirmanus Saba <\/b>and <\/span>A Stone’s Throw<\/span><\/i> (2017) by <\/span>Razan AlSalah<\/b>. The first film, delves into the concept of artistic value and how it intersects with the invisible labor of artists who are also mothers. Through performance and glimpses into the filmmaker’s own experiences, the film offers a poignant exploration of the challenges of balancing creative work with the responsibilities of motherhood.<\/span><\/p>\n

Labor Theory of Artistic Value<\/span><\/i> explores the concept of artistic value and how it intersects with labor, particularly the invisible labor of artists who are also mothers. The film offers a poignant exploration of the intersections between the gendered reproductive labor and the demands of motherhood. Through reading via uttered text and glimpses of her juggling being a mother with her artwork, Mary Jirmanus Saba shares her perspective on the challenges of balancing her creative work with the responsibilities of motherhood. in one of the scenes, Mary herself was shown pumping her breast milk while working on her art, highlighting the constant juggling of responsibilities of being a mother who works as an artist.<\/span><\/p>\n

Meanwhile in<\/span> A Stone\u2019s Throw<\/span><\/i>, Razan AlSalah takes us through the issue of how Palestinian laborers built the settler-colonial project of Israel. In the film, we follow Amine, <\/span>an elderly Palestinian exiled from his home. As he walks, we are immersed in his audio-visual memories <\/span>of the time he worked in an oil pipeline in Zirku island. The story about the island is a testament of how neo-colonial projects performed by Zionists exploited the labor of displaced Palestinians and how capitalism and the oil industry benefited from it. The film is an astounding play of juxtapositions between the visual and narration. The story is told while the audiences are being introduced with Amine <\/span>as he keeps walking and reflecting on his past experiences, accompanied with images of digital maps of being zoomed in and out as he narrates the story, and several more footages of turtles and what seems to be an animated tutorial of how to handle poisoning in the factory.<\/span><\/p>\n

During the Q&A session, the audiences engaged in an interesting discussion about the labor issues explored in these films. Valencia Winata, who is also one of the curators at ARKIPEL Garden of Earthly Delights – 11th Jakarta International Documentary and Experimental Film Festival revealed that she liked the first film, The Labor Theory of Artistic Value, because of its similar approach to the film in her program, The Skin of Mars (2022) by Maite Redondo Gaztelu. Both films, according to her, have a kind of interaction between text and image, which tries to communicate what cannot be communicated. The use of text in these films while showing the audiences a glimpse of motherhood is a very unique and interesting way to highlight the hard work of an artist who is also a mother. One of the most interesting scenes for her is when Mary reads an essay to her baby in bed in a manner similar to reading a bedtime story, as a way to relate the theory she is reading to the everyday landscape of life as a mother who is also an artist.<\/span><\/p>\n

Ali as the curator said that this film is Mary’s response to Silvia Federici<\/strong>‘s perspective on the wages of domestic work. Starting from artistic research that dissected the concept of maternity leave, her response to Federici was not about how domestic work should be paid, but rather a deconstruction and rethinking of the labor relations of domestic work. It is important for domestic work to be visible and utilized in our struggle against capitalism, and how it should be included in our agenda. Ali wants the audiences to see Mary’s authorship in the images shown in the film, to evoke the feeling that Mary wants to convey that her work as an artist is constantly interrupted by childcare and housework.<\/span><\/p>\n

Ali and <\/span>Valencia\u00a0then shared their impressions on the second film, <\/span>A Stone\u2019s Throw<\/span><\/i> by Razan AlSalah. The film emulates the feeling of displacement into our sensory experience as we see the flat images of maps which disorient our perspective about the place. Images from Google Earth that are flat and artificial, clash with the vivid narrative which plants a clear imagery within our minds of the place being described, which makes the audiences reflect on the dialectics between the narrative and the images being presented. The juxtaposition between the story of the filmmaker\u2019s father being depressed by his work paired with the propaganda image of an animated tutorial of how to handle poisoning in the factory, and another juxtaposition of the release of turtles in Abu Dhabi from their natural habitat into a man-made conservatory with the displacement of the factory workers from their home in the story, are the ironies that is being served brilliantly in the film. In connection of the issue of scarcity of the archive of palestine before 1948\u2013before israel exists, the closed up photo zoomed into pixels, the narration, telling the story of the people in this photograph, is an effort\u2013a statement by the filmmaker to emphasize that these people and their history exists. Another audience, <\/span>Syarifa<\/b>, expressed that the visuals of the digital map in the film is Razan\u2019s way of discussing the idea of displacement with the scale of the map that keeps changing throughout the film. That when we see a place through a map on a certain scale, she added, we cannot really see the violence that is happening inside. The imagery that the movie presents offers a new way to see this issue.\u00a0<\/span><\/p>\n

The discussion was concluded with an important statement from Ali. He noted that the emphasis in this session was on the relationship between laborers and their workplace. Whereas early films like the <\/span>Lumi\u00e8re brothers<\/b> showed factory workers leaving their workplace, in postcolonial imagery, the focus has often been on depicting the workers engaged in their labor. This, Ali argued, has become a form of developmentalist propaganda, presenting an idealized image of the creation of a new state. His statement underscored the importance of critically examining the visual representations of labor, and how they can be used to shape narratives and obscure the realities faced by workers.<\/span>[\/vc_column_text][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_gallery interval=”3″ images=”13156,13157,13158,13159,13160,13161″ 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=”Program Kuratorial: Bagaimana kita menyoroti kerja tak terlihat dari mereka yang menjadi penopang kehidupan?” css=”.vc_custom_1725819647832{margin-bottom: 0px !important;}”]Ali AlAdawy, kurator program \u201cKami BUKANLAH buruh tak terlihat dari museum atau istanamu,\u201d kata Mereka membuka sesi pemutaran kedua dari program ini yang berfokus pada isu-isu feminisme dan buruh di wilayah Timur Tengah dan Afrika […]<\/p>\n","protected":false},"author":183,"featured_media":13158,"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":[801,799,674,675,798,802,800],"jetpack_publicize_connections":[],"yoast_head":"\nCuratorial Program: How Do We Emphasize the Invisible Labor of Those Who Sustain It? — 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-6\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Curatorial Program: How Do We Emphasize the Invisible Labor of Those Who Sustain It? — 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: Bagaimana kita menyoroti kerja tak terlihat dari mereka yang menjadi penopang kehidupan?” css=”.vc_custom_1725819647832{margin-bottom: 0px !important;}”]Ali AlAdawy, kurator program \u201cKami BUKANLAH buruh tak terlihat dari museum atau istanamu,\u201d kata Mereka membuka sesi pemutaran kedua dari program ini yang berfokus pada isu-isu feminisme dan buruh di wilayah Timur Tengah dan Afrika […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/arkipel.org\/curatorial-6\/\" \/>\n<meta property=\"og:site_name\" content=\"ARKIPEL\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/arkipel.festival\/\" \/>\n<meta property=\"article:published_time\" content=\"2024-09-08T18:30:12+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2024-09-08T19:38:28+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/arkipel.org\/wp-content\/uploads\/2024\/09\/p1670310-scaled.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2560\" \/>\n\t<meta property=\"og:image:height\" content=\"1922\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Darry Kirana\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@arkipel\" \/>\n<meta name=\"twitter:site\" content=\"@arkipel\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Darry Kirana\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/arkipel.org\/curatorial-6\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/curatorial-6\/\"},\"author\":{\"name\":\"Darry Kirana\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/faea1d58c8a61d28a7e3fd365d303951\"},\"headline\":\"Curatorial Program: How Do We Emphasize the Invisible Labor of Those Who Sustain It?\",\"datePublished\":\"2024-09-08T18:30:12+00:00\",\"dateModified\":\"2024-09-08T19:38:28+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/arkipel.org\/curatorial-6\/\"},\"wordCount\":2284,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/curatorial-6\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2024\/09\/p1670310-scaled.jpg?fit=2560%2C1922&ssl=1\",\"keywords\":[\"A Stone's Throw\",\"Ali Aladawy\",\"ARKIPEL Garden of Earthly Delights\",\"Jakarta International Documentary and Experimental Film Festival\",\"Mary Jirmanus Saba\",\"Razan AlSalah\",\"The Labor Theory of Artistic Value\"],\"articleSection\":[\"ARKIPEL 2024 - Garden of Earthy Delights\",\"ARKIPEL Garden of Earthly Delights\",\"Curatorial Program\",\"Festival Stories\",\"Festival Updates\",\"Film Screening Reviews\",\"Public Discussion\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/arkipel.org\/curatorial-6\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/arkipel.org\/curatorial-6\/\",\"url\":\"https:\/\/arkipel.org\/curatorial-6\/\",\"name\":\"Curatorial Program: How Do We Emphasize the Invisible Labor of Those Who Sustain It? 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