{"id":3023,"date":"2014-09-16T13:26:27","date_gmt":"2014-09-16T06:26:27","guid":{"rendered":"http:\/\/arkipel.org\/?p=3023"},"modified":"2017-08-02T20:10:37","modified_gmt":"2017-08-02T13:10:37","slug":"malam-penghargaan","status":"publish","type":"post","link":"https:\/\/arkipel.org\/malam-penghargaan\/","title":{"rendered":"Malam Penghargaan"},"content":{"rendered":"

THU. 18 SEP, 19.00 – 22.00\u2002\/\u2002GRAHA BHAKTI BUDAYA – TIM<\/span><\/p>\n[mk_padding_divider size=”20″]\n

Berbeda dengan yang pertama pada tahun lalu, dalam penyelenggaraan yang kedua dari ARKIPEL \u2013 Jakarta Documentary and Experimental Film Festival pada 2014, kami menetapkan tema \u201cElectoral Risk\u201d sebagai acuan bagi beberapa program kuratorial khusus yang mempresentasikan sinema dalam konteks itu. \u201cElectoral Risk\u201d kami pilih sebagai siasat untuk menaja dan mengungkai sejumlah kemungkinan yang amat berkaitan dengan situasi aktual dan lingkungan sosial yang melingkupi perhelatan ini.<\/p>\n

Kendati terilhami dari konteks lokal, namun sebenarnya, tema itu dapat ditarik ke jangkauan yang lebih luas, ke berbagai wilayah dan negeri dan kawasan; serta dapat diartikan ke beragam pemahaman sebagaimana terdapat anekarupa kecenderungan akan fenomen yang sama atau setidaknya mirip, yang bisa ditelusur ke dalam tema itu. Terbukti, misalnya, sejumlah filem yang diikutsertakan untuk sesi kompetisi, maupun beberapa yang berhasil lolos seleksi, memperlihatkan betapa tema itu menawarkan keserbamungkinan hubungan yang mengkomunikasikan sejenis kesamaan visi. Namun demikian, \u201cElectoral Risk\u201d tidak dimaksudkan untuk membatasi segala peluang ekspresi visual lantaran tema itu tidak merupakan syarat bagi filem-filem yang ikut serta dalam kompetisi, dan demikian halnya dengan filem-filem terpilih untuk seleksi penjurian pada program tersebut.<\/p>\n

Sekali lagi, tema itu adalah semacam landas pendekatan atas perkembangan terkini di ranah non-artistik, yang cakupannya, di tahun-tahun mendatang dapat diperluas tidak hanya sebagai wacana lokal, namun juga dapat diupayakan untuk memasuki konteks global, serta menyangkut berbagai segi yang kelak pada saatnya akan menantang tujuan-tujuan dan pandangan-pandangan dalam festival ini dalam menentukan tema tertentu. Kendati begitu, sebagai implementasi dari tema kuratorial tersebut, tetap dituntut suatu pembacaan terhadap karya-karya sinematik \u2014sebagaimana pada ARKIPEL tahun lalu\u2014 yang dalam kesempatan kali ini kami tempuh dengan memilih sejumlah filem yang dinilai mewakili lingkup tematik dari \u201cElectoral Risk\u201d.<\/p>\n

Sama seperti pada yang pertama, Kompetisi Internasional merupakan program utama yang dirancang sebagai strategi untuk melihat, menelisik, dan menukik ke beragam pencapaian bahasa-bahasa visual-sinematik, yang dalam sejumlah karya pada waktu itu dan kini, kaya akan kepekaan teknik dan ungkapan. Dalam pandangan kami, pencapaian tersebut tidak semata-mata menunjukkan kebaruan \u2014atau suatu jelajah artistik yang belum (pernah) kami ketahui, misalnya\u2014 akan tetapi, juga penajaman beragam konteks yang dapat menginsiprasi pandangan yang lebih segar dan menantang mengenai dunia visual\/sinema itu sendiri, maupun dunia kita sehari-hari yang kian menjelmakan kompleksitas permasalahan. Di situlah, kiranya, letak nilai sebuah karya yang memungkinkannya untuk dijadikan tolak-ukur pencapaian sinema dokumenter dan eksperimental di Indonesia dan berbagai negeri lainnya dalam mengenali, menjelajahi, dan mungkin sekaligus menegasi bahasa universalnya. Dibarengi upaya dan pendirian yang keras hati, strategi penilaian itu sendiri, pada tingkat lanjut, dapat memotivasi terbitnya suatu pernyataan yang jitu dari sebuah festival.<\/p>\n

Dengan argumen-argumen dan harapan-harapan yang demikian, ARKIPEL \u2013 Jakarta Documentary and Experimental Film Festival menetapkan tiga kategori penghargaan utama:<\/p>\n

Pertama,\u00a0\u201cARKIPEL Award\u201d,\u00a0<\/b>diberikan kepada filem terbaik secara umum, yang dalam penilaian dewan juri mengandung pencapaian artistik disertai kekuatan potensialnya untuk memaknai pilihan perspektif kontekstualnya, yang menantang suatu diskursus bagi cara pandang yang sanggup menggerakkan keterlibatan emosional dan nalar kita akan kondisi tertentu, yang diungkapkan melalui sebuah filem.\u00a0<\/b> Untuk itu, filem terbaik dipandang dapat mewakili pernyataan ARKIPEL akan nilai-nilai yang ditawarkan oleh dunia artistik terhadap gambaran dunia yang, di satu sisi telah sama-sama disepakati, namun di sisi lain, menuntut untuk selalu didefinisikan dan didefinisikan kembali.<\/p>\n

Kedua, \u201cJury Award\u201d, diberikan kepada filem terbaik versi pilihan dewan juri, dengan mempertimbangkan kesegaran serta keunikan bahasa ungkap yang dalam tingkatan tertentu mencapai kematangan personal dalam menyingkapkan dan mengkomunikasikan pengalaman estetis, pergulatan terhadap konten, serta penjelajahan subjektif akan teks\/konteks dari kedua aspek tersebut ke dalam realitas terkininya.<\/p>\n

Ketiga,\u00a0\u201cD.A. Peransi Award\u201d dipersembahkan untuk karya sinematik yang dinilai memiliki fokus pendekatan sosial yang istimewa, dan secara khusus, kategori ini menitikberatkan perhatian kepada sutradara filem dengan usia yang relatif muda. Penghargaan terbaik dalam kategori ini memang terilham dari nama David Albert Peransi (1939\u20141993), seniman, kritikus, dan tokoh dalam dunia filem dokumenter dan eksperimental di Indonesia.<\/p>\n

Pada tahun lalu, terpilih sebagai filem terbaik untuk kategori \u201cARKIPEL Award\u201d, yakni Old Cinema, Bologna Melodrama<\/i>\u00a0(2011) karya Davide Rizzo (Italia), sebuah filem yang dalam pandangan dewan juri kala itu, menawarkan suatu keluasan tafsir yang mengaspirasi ulang masalah mengenai bentuk-bentuk dan realitas-realitas komunikatif antara sejarah budaya dengan publiknya; sedangkan\u00a0\u201cJury Award\u201d\u00a0diberikan pada Jane Gilooly (Amerika Serikat) untuk filemnya,\u00a0Suitcase of Love and Shame<\/i>\u00a0(2013) karena keunggulannya dalam mengolah memori, sinema, dan suara dalam konsep silang-simpang media, berikut ketajaman visionernya dalam mempertanyakan ulang potensi laten mengenai tabu sosial terhadap ruang privat terhadap makna kebebasan pribadi dan umum; lalu, \u201cD.A. Peransi Award\u201d\u00a0ditampukkan kepada Ma\u0161a Drndic (Kroasia) dengan filemnya, \u201cPolazi\u0161te za \u010dekanje\u201d (atau The Waiting Point<\/i>, 2013). Dokumenter dari salah satu potret sosial ini berhasil mengemukakan isu penting mengenai identitas nasional di tingkat birokrasi dan di kalangan rakyat, terkait perubahan terbaru kebijakan Uni Eropa, sambil dengan intimnya, menjalin keterikatan emosional dan ideologis dengan publik.<\/p>\n

Akan halnya \u201cForum Lenteng Award\u201d, merupakan kategori penghargaan di luar Kompetisi Internasional. Penghargaan ini diberikan kepada filem yang dianggap paling menarik dalam sejumlah atau salah satu seginya setelah diusulkan oleh pengurus dan anggota Forum Lenteng untuk diputuskan oleh Dewan Juri. Filem yang dipilih untuk penghargaan ini tak hanya berasal dari sejumlah karya sinematik yang terseleksi dalam Kompetisi Internasional, tetapi juga dari seluruh filem yang ditayangkan dalam beberapa program kuratorial selama festival. Pada 2013 lalu, penghargaan itu diberikan kepada filem\u00a0\u201cLes Fant\u00f4mes de L\u2019escarlate\u201d (atau The Ghosts and The Escarlate<\/i>, 2012) karya Julie Nguyen van Qui (Prancis). Dengan keterampilan artistik yang amat tinggi, filem ini berupaya menelusuri tafsir tentang keberadaan jiwa yang tetap hidup, lewat keyakinannya akan kedekatan hubungan antara kenyataan dan fantasi, sebagai sebuah renungan bagi zaman kita kini.<\/p>\n

Kenisbian suatu penilain, jelas tidak terelakkan, akan tetapi, dari penilaian jugalah terbersit sepenggal rujukan dari senarai gagasan ataupun konsep mengenai kehidupan dan dunia yang kita huni melalui secuplik pengalaman, penafsiran, pemahaman, penerimaan dan negasi, yang dibisikkan atau digemakan kembali dalam penciptaan\/produksi artistik. Itulah mengapa, pada hakikatnya, seluruh filem dalam sesi Kompetisi ARKIPEL 2013, sama-sama memiliki peluang untuk disematkan sebagai filem terbaik dalam empat kategori penghargaan sebagaimana sudah dijelaskan.<\/p>\n

ARKIPEL \u2013 Jakarta Documentary and Experimental Film Festival, tidak mendasarkan penilaian atas filem dengan merujuk pada kriteria teknis kewaktuan yang membedakan filem panjang atau filem pendek dalam hal durasi; demikian pula mengenai dokumenter dan eksperimental, tidak secara kaku dikurung dalam kaidah-kaidah konvensional. Kedua \u2018pembebasan\u2019 itu dijalankan untuk lebih melihat terlangsungkannya batas-batas perbauran dari bentuk, gaya, genre dan semacamnya, pada kedua jenis pilihan sinematik itu dari peluang saling silang-simpang antara aspek-aspek tersebut. Ke dalam pencapaian terbaik bahasa sinema itulah, sebuah filem, dengan cara yang problematis dan dialektis, berhasil menggugah kesadaran akan penjelajahan\/eksperimentasi terdalam dan terjauh dari medium dan kontennya. Dengan demikian, putusan-putusan mengenai penetapan penghargaan untuk program Kompetisi Internasional pada ARKIPEL \u2013 Jakarta Documentary and Experimental Film Festival, diupayakan untuk mampu mencerminkan sekaligus meneguhkan pernyataan kultural dalam artiannya yang luas, sebagai salah satu bagian lagi dari beragam pernyataan serupa di berbagai lokasi lain dalam event<\/i> sejenis pada tingkat global.<\/p>\n[mk_divider style=”double_dot” divider_color=”#c2c244″ divider_width=”full_width” margin_top=”20″ margin_bottom=”20″]\n

Unlike its first organization last year, in the second ARKIPEL \u2013 Jakarta Documentary and Experimental Film Festival 2014, we set the theme \u201cElectoral Risk\u201d as point of reference for several special curatorial programs which present cinema in that context. We choose \u201cElectoral Risk\u201d as strategy to initiate and break down a number of possibilities that are closely related with the actual situation and social environment surrounding this event.\u00a0<\/span><\/p>\n

Although inspired by the local context, actually the theme may extend to a wider range, to various terrains and countries and regions, and can be interpreted to various understandings as there are diverse tendencies on the same or at least identical phenomenon which can be explored within that theme. It is evident, for instance, that a number of films included in the competition session or some others that passed the selection, show how the theme offers many possibilities of relations which communicate a sort of common vision. Nevertheless, \u201cElectoral Risk\u201d was not meant to limit all possibilities of visual expressions for the theme was not a requirement for films participated in the competition, nor for the films chosen for selection in the program.\u00a0<\/span><\/p>\n

Once again, the theme is a kind of basic approach on the recent development in the non-artistic terrain, of which the scope, in the years to come, can be expanded not only as local discourse but also can be worked to enter global context, concerning various aspects that in turn will challenge the objectives and perspectives of this festival in setting a certain theme. However, as the implementation of that curatorial theme, there is still a demand on readings on cinematic works\u2014as in last year\u2019s ARKIPEL \u2014 which on this occasion we do by selecting a number of films representing the thematic scope of \u201cElectoral Risk\u201d.<\/span><\/p>\n

Same as the first, International Competition is the main program designed as a strategy to see, examine, and plunge into various achievements of visual-cinematic languages, which in a number of works at that time and today, are affluent with sensitivity of techniques and expressions. In our perspective, those achievements do not only show innovations\u2014or some artistic explorations which we never (or yet) know about, for example\u2014but also a sharpening of various contexts that may inspire a fresher and more challenging perspective about the world of visual\/cinema itself, or our everyday world in which complexity of problems come true more and more. At that point, probably, the value of a work can be placed, allowing it to become a milestone of documentary and experimental cinema achievement in Indonesia and various other countries while recognizing, exploring and probably negating its universal language as well. Together with an unyielding conviction, the strategy for judging itself in a more advanced level can encourage the emergence of an accurate statement of a festival.\u00a0<\/span><\/p>\n

With such arguments and expectations, ARKIPEL \u2013 Jakarta Documentary and Experimental Film Festival defined three categories of the main awards:<\/span><\/p>\n

Firstly,\u00a0the \u201cARKIPEL Award\u201d\u00a0<\/b>is to be given to the best film in general, which in the judgment of the board of jury contain artistic achievement and a potential power to define its choice of contextual perspective, which challenges a discourse for a perspective that enables to encourage our emotional and rational participations toward certain conditions, expressed through a film.\u00a0<\/b>For that, the best film may represent the statement of ARKIPEL on values offered by the artistic world to a world\u2019s portrayal which, on the one hand has been together established, but on the other hand demands to be always defined and redefined.<\/span><\/p>\n

Secondly, the \u201cJury Award\u201d is to be given to the best film based on the board of jury\u2019s choice by considering the freshness and uniqueness of language expression that in certain level succeeds in achieving personal maturity in revealing and communicating an aesthetics experience, a struggle about content and a subjective exploration on text\/context from both these aspects into their current reality.\u00a0<\/span><\/p>\n

Thirdly, the \u201cD.A. Peransi Award\u201d is dedicated to a cinematic work deemed as having the focus of a special social approach; this category particularly emphasizes highlight to a relatively young film directors. The award for the best film in this category is inspired by David Albert Peransi (1939-1993), an artist, critic and prominent figure in the world of documentary and experimental film in Indonesia.<\/span><\/p>\n

Last year, selected as the best film for \u201cARKIPEL Award\u201d category, was Old Cinema, Bologna Melodrama<\/i>\u00a0(2011) by Davide Rizzo (Italy), a film which in the perspective of the board of jury at that time offered a multi-interpretation to re-draw aspirations from the problems of communication forms and realities between cultural history and its public; while the\u00a0\u201cJury Award\u201d\u00a0was given to Jane Gilooly (United States) for her film,\u00a0Suitcase of Love and Shame<\/i>\u00a0(2013), for its excellence in processing memory, cinema and sound within the conception of media cross-intersection, not to mention its visonary sharpness in re-questioning latent potentials concerning social taboos in private space and the meaning of private and public freedom; and, the \u201cD.A. Peransi Award\u201d\u00a0was given to Ma\u0161a Drndic (Croatia) for his film, Polazi\u0161te za \u010dekanje<\/i> (or The Waiting Point<\/i>, 2013). This documentary of one of social portrayals succeeded to raise an important issue about national identity at the level of bureaucracy and the citizens, related to the newest transformation of policy in European Union, while intimately weaving emotional and ideological attachment with the public.\u00a0<\/span><\/p>\n

As for the\u201cForum Lenteng Award\u201d, it is a category of award outside the International Competition. This award is to be given to a film which is considered to be the most interesting based on some or one of its aspects upon the caretaker and members of Forum Lenteng\u2019s proposal to be decided by the board of jury. The film chosen for this award does not only come from the selected number of cinematic works in the International Competition, but also from the entire films screened in several curatorial programs during the festival. On 2013, the award goes to Les Fant\u00f4mes de L\u2019escarlate<\/i> (or The Ghosts and the Escarlate<\/i>, 2012) by Julie Nguyen van Qui (France). In highly artistic skills, this film attempts to explore an interpretation of the existence of a lingering soul through a belief of the proximity of relation between fact and fantasy, as a contemplation about our present age.<\/span><\/p>\n

The relativity of a judgment is clearly inevitable but it is also from a judgment that we can come up with a piece of reference from a set of ideas or conceptions about life and the world we live through a small portion of experience, interpretation, comprehension, acceptance and negation that are whispered to or echoed again in the artistic creation\/production. That is why, in essence, the entire films in the ARKIPEL 2013 Competition session have equal prospects to be pinned as the best film in four categories of award as explained above.<\/span><\/p>\n

ARKIPEL \u2013 Jakarta Documentary and Experimental Film Festival does not establish its judgment on the films by referring to technical criteria of duration, which distinguishes long film and short film; neither does about documentary and experimental in a rigid conventional principles. Both \u2018liberation\u2019 are allowed in order to see more dispersing limits of form, style, genre and so forth, within the type of cinematic choices based on the probabilities which intersects those aspects. Seeking that best achievement of cinematic language, a film, through problematical and dialectical ways, succeeds to arouse awareness of the deepest and farthest exploration\/experimentation of a medium and its content. Thus, the awarding decisions for International Competition in ARKIPEL \u2013 Jakarta Documentary and Experimental Film Festival will attempt to be able to reflect as well as to confirm its cultural statement in a wider meaning, as a part of various similar statements in many other locations of similar events at the global level.<\/span><\/p>\n[mk_toggle title=”MUSIC” icon=”mk-moon-mic-3″ style=”fancy”]\n

Sentimental Moods<\/h1>\n

\"sentimental<\/a><\/p>\n

SENTIMENTAL MOODS<\/b>*, band instrumental ska asal Jakarta, akan memeriahkan acara\u00a0“Awarding Night” ARKIPEL – JAKARTA INTERNATIONAL DOCUMENTARY & EXPERIMENTAL FILM FESTIVAL 2014<\/b>\u00a0pada\u00a0Kamis, 18 September 2014 mulai jam 19.00 di Graha Bhakti Budaya, Taman Ismail Marzuk<\/b>i, Jl. Cikini Raya 73, Jakarta Pusat.<\/i><\/p>\n

Mereka adalah kumpulan sembilan musisi berbakat yang telah secara jelas merepresentasikan karakter musik mereka, yang memang mampu meningkatkan nuansa sentimental dalam suasana hati para pendengarnya. Dengan irama\u00a0Ska<\/em>, kelompok musisi yang berat di\u00a0bras section<\/em>-nya ini telah menciptakan komposisi-komposisi instrumental yang rancak dan menggarap ulang beberapa lagu lama dengan hasil yang brilian! Penampilan mereka diatas panggung, dimana pun dan sekecil apa pun panggungnya, selalu membawa keceriaan tertentu, selain kenangan-kenangan manis yang tergambarkan oleh melodi tempo dulu. Kabar terakhir, mereka baru saja merilis debut albumnya yang berjudul “Destinasi Empat” pada Juli 2014 lalu. Enjoy Ska!<\/p>\n[mk_padding_divider size=”20″]\n

SENTIMENTAL MOODS<\/em><\/strong>*\u00a0<\/em>is a ska instrumental band from Jakarta, who\u2019s going to enliven the\u00a0“Awarding Night” ARKIPEL – JAKARTA INTERNATIONAL DOCUMENTARY & EXPERIMENTAL FILM FESTIVAL 2014<\/em><\/strong>\u00a0<\/em>onThursday, 18 September 2014 start from 19.00 om at Graha Bhakti Budaya, Taman Ismail Marzuk<\/em><\/strong>i,<\/em><\/strong>\u00a0Jl. Cikini Raya 73, Central Jakarta.<\/em><\/span><\/p>\n

They are a group of nine talented musicians who have clearly represent the character of their music, which is able to spark the sentimental feel of the mood of the listener. With the rhythm of Ska, a group of musicians who excel heavily in their brass section have created instrumental compositions that are dynamic and redo some old pieces with a brilliant result! Their appearance on the stage, no matter where and no matter how small the stage, always bring a certain joy, in addition to the sweet memories of the past that was defined by the melody. The latest news, they have just released their debut album entitled “Four Destinations” in July 2014 ago. Enjoy Ska!<\/span><\/p>\n

http:\/\/sentimentalmoodsjkt.wordpress.com\/<\/a><\/span>
\n www.soundcloud.com\/sentimentalmoods<\/a><\/span>
\n https:\/\/www.facebook.com\/pages\/Sentimental-Moods\/187487061136<\/a><\/span><\/p>\n[\/mk_toggle]\n","protected":false},"excerpt":{"rendered":"

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