{"id":5579,"date":"2016-08-15T10:00:26","date_gmt":"2016-08-15T03:00:26","guid":{"rendered":"http:\/\/arkipel.org\/?p=5579"},"modified":"2017-08-02T19:35:52","modified_gmt":"2017-08-02T12:35:52","slug":"special-presentation-program-ars-memorativa-art-memory","status":"publish","type":"post","link":"https:\/\/arkipel.org\/special-presentation-program-ars-memorativa-art-memory\/","title":{"rendered":"Special Presentation Program: ars memorativa | The Art of Memory"},"content":{"rendered":"[vc_row][vc_column][vc_column_text margin_bottom=”40″]\n

ars memorativa | Seni Ingatan<\/strong><\/h2>\n

Films by Scott Miller Berry<\/strong><\/em><\/span><\/p>\n

Mari bergabung dengan ARKIPEL untuk menikmati program yang sangat personal bersama karya-karya pendek sutradara dan pekerja budaya Toronto, Scott Miller Berry (dan anggota Juri Internasional ARKIPEL, demikianlah maka film-film ini ditayangkan di luar kompetisi). Selama lima belas tahun belakangan ini Scott membuat video dan film diari pendek sebagai sutradara yang terutama otodidak, yang terpikat pada bentuk-bentuk dokumenter pribadi untuk menelusuri kematian, duka, ingatan, dan sejarah kolektif. Ia akan menyajikan empat film pendek yang semuanya ditayangkan di Asia Tenggara untuk pertama kalinya, bersama dengan sebuah film pelengkap oleh Jeanne Liotta, disertai bincang-bincang singkat.<\/p>\n

Please join ARKIPEL for an intimate program with short works by Toronto filmmaker and cultural worker Scott Miller Berry (and ARKIPEL International Jury Member, therefore these films screen out of competition). For the past fifteen years Scott has been making short diary films and videos as a largely self-taught filmmaker who is drawn to personal documentary forms to explore mortality, grief, memory and collective histories. He will present four short films all of which are being screened in Southeast Asia for the first time, along with a complementary film by Jeanne Liotta along with a short talk.<\/em><\/span>[\/vc_column_text][vc_column_text title=”ars memorativa” margin_bottom=”40″]Canada\/USA, 2014, 19mins<\/em><\/p>\n

\"ars_memorativa_small\"<\/em><\/p>\n

\u201cars memorativa<\/em> (seni ingatan) mengacu pada metode dan teknik yang kita gunakan untuk mengingat hal-hal, tapi dalam pengamatan empat bagian media audiovisual ini sebagai inkubator ingatan personal, hal itu juga menunjuk pada sinema sebagai seni ingatan, seni kenangan, yang unggul. Memadukan video digital dan analog, rekaman audio dan seluloid, yang goresan, kotoran, dan bunyi kereseknya dengan caranya sendiri bertindak sebagai jejak-jejak masa lalu, filem ini sebagian merenungkan tujuan sinema sebagai dokumen autentik, sebagai bukti keberadaan diri seseorang. Filem ini adalah refleksi rendah hati tentang bagaimana dokumenter rumahan, rekaman musik, dan foto, setelah meninggalnya seseorang, menumbuhkan kualitas yang melestarikan sejarah kehidupan orang itu.\u201d<\/p>\n

\u2013 Srikanth Srinivasan, The Seventh Art <\/em>(Bangalore)<\/p>\n

ars memorativa (art of memory) refers to the methods and techniques we use to remember things, but in this four-part examination of audio visual media as incubators of personal memory, it also points to cinema as the preeminent art of memory, of remembrance. Amalgamating analog and digital video, celluloid and audio recordings, whose scratches, smudges and crackling noises, in their own way, act as traces from the past, the film partly ruminates on the purpose of cinema as an authentic document, as evidence of a person\u2019s existence. This film is a modest reflection on how home movies, music records and photographs, after a person\u2019s passing, develop the quality of preserving the history of the person\u2019s life.\u201d<\/em><\/span><\/p>\n

\u2013 Srikanth Srinivasan, The Seventh Art (Bangalore)<\/em><\/span><\/p>\n[\/vc_column_text][vc_column_text title=”beth olem | house of the world” margin_bottom=”40″]USA, 2014, 6mins<\/em><\/p>\n

\"beth_olem_house_of_the_world\"<\/em><\/p>\n

beth olem <\/em>(house of the world<\/em>) diambil gambarnya di Pemakaman Beth Olem di Detroit dan menyertakan dua rol kamera Super 8. Pemakaman itu adalah yang kedua tertua di Michigan, dengan makam dari 1860-an hingga 1948. Pemakaman itu dipagari oleh General Motors pada 1981, saat setelah perjuangan komunitas yang panjang GM dengan dukungan Kota Detroit meruntuhkan lingkungan \u201cPoletown\u201d: lebih dari 1.300 rumah, 150 usaha, termasuk satu rumah sakit dan lima gereja dirobohkan dengan janji untuk menciptakan 6.000 pekerjaan di pabrik perakitan. Beth Olem (bahasa Ibrani yang berarti \u201crumah dunia\u201d) hanya buka empat jam per tahun dan ditinggali oleh sekitar 1.400 penghuni, ironisnya ini sedikit lebih banyak ketimbang jumlah karyawan General Motors Poletown Assembly Plant saat ini, yang 6.000 posisi pekerjaannya selama lebih dari tiga puluh tahun terus berkurang.<\/p>\n

beth olem | house of the world was shot at the Beth Olem Cemetery in Detroit and includes two super-8 camera rolls. The cemetery is the 2nd oldest in Michigan, with burials from 1860s until 1948. The cemetery was enclosed by General Motors in 1981 when after a long community fight, GM with the support of the City of Detroit razed the vibrant “Poletown” neighbourhood: over 1,300 houses, 150 businesses including a hospital and 5 churches were taken down with the promise of creating 6,000 jobs at the assembly plant. Beth Olem (Hebrew for “house of the world”) is only open four hours each year and houses approximately 1,400 residents, ironically, this is slightly more than the number of current employees at General Motors Poletown Assembly Plant whose 6,000 jobs have, after over thirty years, continued to evaporate.<\/em><\/span>[\/vc_column_text][vc_column_text title=”anamnesis”]Canada\/USA, 2009, 3mins<\/em><\/p>\n

\"anamnesis_small_web\"<\/em><\/p>\n

\u201cSebagian besar film saya mencakup tema-tema yang berhubungan dengan penyakit, kehilangan, dukacita, dan kematian, serta efek residu saat kita kehilangan seseorang dalam hidup kita. anamnesis <\/em>melanjutkan perlintasan itu dengan menyertakan foto-foto keluarga, representasi rumah, dan penjelajahan ingatan dalam bentuk performans untuk kamera di mana saya menghilangkan foto-foto keluarga dari wajah saya. Hubungan saya sendiri dengan isu-isu ini menjadi sumber dan memberi bentuk pada riset saya tentang kematian dan, dengan demikian, proses kreatif saya.\u201d<\/p>\n

\u201cOne need not be a chamber to be haunted;
\nOne need not be a house;
\nThe brain has corridors surpassing
\nMaterial place.\u201d
\n\u2013 <\/em>Emily Dickinson, from “Time and Eternity”<\/p>\n

anamnesis <\/em>adalah film diari buatan tangan yang mengeksplorasi rumah, ingatan, dan sejarah melalui sekuens yang diproses seperti lukisan. Pengambilan gambar film ini dilakukan di tempat pemrosesan gambar independen (\u201cfilm farm\u201d) di Mount Forest, Ontario.<\/p>\n

“Most of my film works include themes related to illness, loss, grief and mortality and the residual effects when we lose someone in our lives. anamnesis continues this trajectory by including family photographs, representations of home and explorations of memory in the form of a performance for the camera where I remove family photographs from my face. My own connection to these issues feeds and informs my research on mortality and therefore my creative processes.”<\/em><\/span><\/p>\n

\u201cOne need not be a chamber to be haunted;
\nOne need not be a house;
\nThe brain has corridors surpassing
\nMaterial place.<\/em>\u2028<\/em>\u201d
\n\u2013 <\/em>Emily Dickinson, from “Time and Eternity”<\/em><\/span><\/p>\n

anamnesis is a handmade diary film exploring home, memory and history through heavily processed painterly sequences. the film was shot at the independent imaging retreat (the “film farm”) in mount forest, ontario.<\/em><\/span>[\/vc_column_text][vc_column_text title=”untitled (eleven years)” margin_bottom=”40″]USA, 2001\/2015, 6mins<\/em><\/p>\n

\"Untitled-Frame-Grab_web\"<\/em><\/p>\n

Kisah pengakuan anumerta kepada ibu saya yang meninggal pada 1987 saat saya 17 tahun. Film diari ini dibuat di Detroit di Beth El Memorial Cemetery di mana ibu saya dimakamkan, dan merupakan meditasi tentang penyakit, kehilangan, keluarga, dan seksualitas.<\/p>\n

A posthumous coming out story to my Mother who died in 1987 when I was 17. This diary film was shot in Detroit at Beth El Memorial Cemetery where my mother is buried and is a meditation on illness, loss, family and sexuality.<\/em><\/span>[\/vc_column_text][vc_column_text title=”Ceci n\u2019est pas” margin_bottom=”40″]Jeanne Liotta, USA, 1997, 7mins<\/em><\/p>\n

\"ceci_still_web\"<\/em><\/p>\n

\u201cDiproses dengan tangan dan tak diedit, rol ini ada di dalam kamera saya sejak Maret-Mei 1995: perjalanan ke New Orleans, naik kereta, kematian seorang sahabat + seniman. Film ini adalah pengarangnya sendiri; fungsi penelusurannya meninggalkan saya di belakang.\u201d<\/p>\n

\u2013 Jeanne Liotta.<\/p>\n

\u201c…Dalam Ceci n\u2019est pas<\/em>, kereta, simbol seks, kematian, dan sinema yang ada di mana-mana itu sendiri menarik kita menjauh dari fantasi kehadiran di dunia ini dan menuju phantasma di baliknya. Destinasi kereta yang tak kasat mata ini hanya dapat dilihat di alam antah-berantah.\u201d
\n\u2013 Bruce Stater, ulasan seri Big As Life<\/em> MOMA 1998.<\/p>\n

Jeanne Liotta<\/strong> (New York, NY) membuat film dan kefanaan budaya lain, yang kerap terletak di persilangan ramai antara seni, sains, dan filsafat natural.<\/p>\n

“Hand processed and unedited, this roll lived in my camera from March-May 1995: a trip to New Orleans, a train ride, the death of a dear friend + artist. This film is the author of itself; its trace function leaves me behind.”
\n<\/em>\u2013 Jeanne Liotta<\/em><\/span><\/p>\n

\u00a0\u201c…In <\/em>Ceci n\u2019est pas, the train, that ubiquitous symbol of sex, death, and cinema itself draws us away from the fantasy of a presence in this world and towards the phantasms beyond. The destination of this unseen train can only be the invisible realm of nowhere.\u201d
\n<\/em>\u2013 <\/span>Bruce Stater, review of MOMA\u2019s Big As Life 1998 series<\/span>.<\/em><\/p>\n

Jeanne Liotta<\/em><\/strong> (New York, NY) makes films and other cultural ephemera often located at a lively intersection of art, science, and natural philosophy.<\/em><\/span>[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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