{"id":5597,"date":"2016-08-15T15:00:35","date_gmt":"2016-08-15T08:00:35","guid":{"rendered":"http:\/\/arkipel.org\/?p=5597"},"modified":"2017-08-02T19:35:15","modified_gmt":"2017-08-02T12:35:15","slug":"curatorial-program-marginal-matters","status":"publish","type":"post","link":"https:\/\/arkipel.org\/curatorial-program-marginal-matters\/","title":{"rendered":"Curatorial Program: Marginal Matters"},"content":{"rendered":"

Makna Pinggiran<\/strong><\/h2>\n

Curator: Esther Lu, Fang Yen-Hsiang, Jo Ying Peng<\/em>
\n(Presented at ARKIPEL by Esther Lu)<\/em><\/p>\n

 <\/p>\n

Kuratorial ini berangkat dari situasi politk mutakhir di Taiwan, menyoroti bagaimana masyarakat taiwan dimarjinalisasikan tidak hanya oleh iklim geopolitik internasional, tetapi juga oleh reproduksi mdel perekonomian yang mempercepat dan mendiversifikasikan bentu-bentuk pembagian sosial. Kuratorial \u201cMakna Pinggiran\u201d membahasakan jiwa, karakter, dan lanskap garis-garis tepi struktural dalam masyarakat kontemporer Taiwan dengan membangun naratif-naratif baru, baik nyata maupun fiksional, yang menembus kungkungan realitas. Karya-karya yang dikurasi mengapropriasi relasi-relasi pribadi dalam jejaring dan kondisi-kondisi hancur masyarakat untuk mencari kepekaan-kepekaan baru yang akan melontarkan perubahan. Kuratorial ini bertujuan memetakan titik-titik acuan di luar kerangka kamera dan menyarikan makna dari situs-situs praktik dan produksi yang tak terlihat. Dengan pemahaman-pemahaman baru yang memperkaya tentang teori auteur<\/em> itulah, program ini mengeksplorasi dimensi-dimensi tersebut secara baru sebagai modus dalam merenungkan subjektivitas, dan sebagai penolakan atas jalan buntu dan ketidakpedulian struktural.<\/p>\n

This curatorial departs from the current political situation in Taiwan, highlighting how Taiwanese society is not only marginalized due to the international geopolitical climate, but also from the reproduction of an economic model that has accelerated and diversified forms of social divisions. <\/em>Marginal Matters addresses the psyche, character and landscape of the structural margins in contemporary Taiwanese society by building new narratives, both real and fictional, that transcend the enclosures of reality. The works appropriate personal relations in the broken networks and conditions of society to seek new sensibilities that will propel change. This curatorial aims to map out reference points outside the camera frame and extract meaning from the invisible sites of practice and production. By these new and enriching understandings of auteur theory, the program explores these dimensions anew as a mode of contemplating subjectivity, and as a refusal of structural indifference and impasse.<\/em><\/span><\/p>\n

 <\/p>\n

–<\/p>\n

\"The-Pig_small\"<\/strong><\/p>\n

The Pig
\n<\/strong>Singing Chen & J\u00e9ro Yun, Taiwan, 2013, 25mins<\/em><\/p>\n

Seekor babi yang dikorbankan, sebuah keluarga yang baru-baru ini menjadi tunawisma, dan sebuah kota yang rindu akan hujan. Dengan kasih sayang dan doa, mereka berusaha bertahan hidup. Dalam jukstaposisi antara mitologi dan realitas, The Pig<\/em> mengungkapkan ketidakpedulian pemerintah terhadap kehidupan mereka yang tertindas. Sang sutradara mulai memperhatikan masalah-masalah sosial yang terjadi di dalam komunitas Hua Kuang lama sebelum perhatian publik menggerakkan protes, dan filem ini menangkap struktur sosial yang disfungsional dalam proses gentrifikasi urban yang serakah.<\/p>\n

A sacrificed pig, a newly homeless family, and a city longing for rain. With compassion and prayer, they try to survive. In the juxtaposition of mythology and reality, The Pig reveals the government\u2019s indifference to the life of underdogs. The director started paying attention to the social problems occurred in Hua Kuang community long before public attention stirring up protest, and the film captures the dysfunctional social structure under the greedy process of urban gentrification.<\/em><\/span><\/p>\n

Singing Chen <\/strong>memakai film untuk terjun ke dalam kehidupan dan isu-isu lain termasuk seni, bunyi, kemanusiaan, dan kondisi sosial. Menyusul film panjangnya yang lebih dulu, God Man Dog <\/em>(2007), ia memproduksi banyak proyek dokumenter jangka panjang. Penuturan cerita Chen yang sensitif dan komposisi citra serta bunyinya menciptakan suatu bahasa sinematik yang unik. Chen tinggal di Taipei.<\/p>\n

Singing Chen<\/em><\/strong> employs filmmaking to engage life and other issues including art, sound, humanity and social conditions. Following her early acclaimed feature film <\/em>God Man Dog (2007), she has produced many long-term documentary projects. Chen\u2019s sensitive storytelling and composition for image and sound set an unique cinematic language. Chen is based in Taipei.<\/em><\/span>
\n<\/strong><\/p>\n

J\u00e9ro Yun<\/strong> lahir di Pusan, Korea Selatan. Pada 2008 ia bergabung dengan LeFresnoy dan menyutradarai film In the Dark<\/em> dan sebuah film fiksi ilmiah, Red Road<\/em>. Yun memenangi Grand Prix Asiana International Short Film Festival (Korea Selatan) dan Louis Lumi\u00e8re Grand Prix (Institut Fran\u00e7ais).<\/p>\n

J\u00e9ro Yun<\/em><\/strong> was born in Pusan South Korea. In 2008, he joined Le Fresnoy and directed the short film In the Dark and a sci-fi movie <\/em>Red Road. Yun won the Grand Prix Asiana International Short Film Festival (South Korea) and the Louis Lumi\u00e8re Grand Prix (Institut Fran\u00e7ais).<\/em><\/span><\/p>\n

\"The-Chair_small\"<\/strong><\/p>\n

The Chair
\n<\/strong>Su Yu-Hsien, Taiwan, 2012, 21mins 41secs<\/em><\/p>\n

Mereka ulang pengalaman masa kecil dalam membangun mesin waktu dengan benda-benda sehari-hari yang dibuang dan sebuah emblem Mercedes-Benz, seniman ini menghubungkan masa kini dan masa lalu, tempat kerjanya (studio?), dan museum, dan realitas remeh-temeh dengan dunia fantasi. Inilah mesin waktu untuk berpindah dari satu tempat yang tak bermakna menuju satu rutinitas lain yang tak dapat dihindarkan dan mungkin membosankan.<\/p>\n

Re-enacting a childhood experience of building a time machine with discarded everyday objects and a Mercedes-Benz badge, the artist connects his present and past, his workspace [studio?] and the museum, and mundane reality with the world of fantasy. It is a time machine to ride from an insignificant place to another inescapable and possibly boring routine.<\/em><\/span><\/p>\n

Su Yu-Hsien<\/strong> bekerja sebagai seniman dan kurator independen di Tainan, Taiwan. Karya-karya Su kerap menyasar topik-topik yang kurang direpresentasikan dalam masyarakat, budaya, dan sejarah, dan melibatkan suatu proses pemberdayaan dengan imajinasi unik untuk menjungkirbalikkan kondisi-kondisi dan peran-peran sosial atau menciptakan ironi untuk menembus masuk ke dalam struktur politik yang ada.<\/p>\n

Su, Yu-Hsien <\/em><\/strong>works as independent curator and artist in Tainan, Taiwan. Su\u2019s works often address to the underrepresented subjects in society, culture and history, and involves a process of empowerment with his whimsical imagination to overturn the social roles and conditions or to create an irony to penetrate through the existing political structures.<\/em><\/span><\/p>\n

\"Tu-di-Temple_small\"<\/p>\n

Tu-Di Temple
\n<\/strong>Wu Chi-Yu, Taiwan, 2013, 11mins 27secs<\/em><\/p>\n

Tu-Di Temple<\/em> difilemkan di Desa Leshan, Kota Guishan, Taoyuan. Pengambilalihan tanah disebabkan oleh proyek konstruksi besar \u201cStasiun A7 MRT Bandara\u201d, yang tak pelak berujung pada lenyapnya karakter asli desa itu. Setelah semua bangunan dipindahkan, Tu-Di atau Kuil Pelindung Tanah (Land Guardian Temples) adalah satu-satunya struktur yang utuh yang tertinggal di desa yang tak punya apa-apa kecuali tanah untuk dilindungi. Imajinasi dan kisah-kisah yang hilang terus hidup di tanah yang hilang ini.<\/p>\n

Tu-Di Temple is filmed in Leshan Village, Guishan Township, Taoyuan. Land expropriation caused from the major construction project of \u201cAirport MRT A7 Station\u201d inevitably leads to the disappearance of the village\u2019s original character. After all the buildings have been removed, Tu-Di\u00a0 or Land Guardian Temples are the only intact structures left in the village with nothing but the land left to protect. Lost stories and imagination linger on in this lost land.<\/em><\/span><\/p>\n

Wu, Chi-Yu <\/strong>lulus dari Taipei National University of the Arts, dan berbasis di Taipei. Karya Wu yang spesifik pada situs tertentu kerap mendekati topik mengenai memori dan lingkungan urban dengan kelokan naratif fiksional. Selain video, ia juga bekerja dengan beragam medium, seperti proyek kolaboratif, instalasi video, dan performans kuliah.<\/p>\n

Wu Chi-Yu <\/em><\/strong>graduated from Taipei National University of the Arts, and is based in Taipei. Wu\u2019s site-specific works often approach subjects of memory and the urban environment with a twist of fictional narratives. Apart from video, he also works with various mediums, such as<\/em> collaborative project, video installation and lecture performance.<\/em><\/span><\/p>\n

\"The-Welcome-Rain-Falling-from-the-Sky_small\"<\/p>\n

The Welcome Rain Falling from the Sky
\n<\/strong>Tsui Kuang-Yu, Taiwan, 1997, 1mins<\/em><\/p>\n

Ini permainan sederhana: kita harus terus-menerus menghindari apa pun yang jatuh dari langit. Seniman ini merancang serangkaian peraturan untuk menguji dan mengukur batas-batas kapasitas adaptasi manusia dalam lingkungan yang makin lama makin keras.<\/p>\n

It is a simple game: one has to constantly avoid whatever falls from the sky. The artist designs a series of rules to test and measure the limits of the capacity for human adaptation in an increasingly harsh environment.<\/em><\/span><\/p>\n

Tsui, Kuang-Yu<\/strong> berusaha untuk merespons relasi adaptasi antara manusia dan masyarakat melalui sudut pandang biologis. Ia juga berupaya mendefinisikan ulang atau mempertanyakan matriks institusi yang kita huni melalui tindakan dan eksperimen berbeda-beda yang mengabaikan norma-norma yang biasa. Eksperimen-eksperimen tubuhnya yang repetitif menekankan absurditas nilai-nilai sosial.<\/p>\n

Tsui, Kuang-Yu <\/em><\/strong>has been trying to respond to the adaptation relation between human and the society from a biological point of view. He also attempts to redefine or question the matrix of the institution we inhabit through different actions and experiments that ignore the accustomed norm. His repetitive body experiments accent the absurdity of the social values.<\/em><\/span><\/p>\n

\"Bo-Ai-Market_small\"<\/p>\n

Bo-Ai Market
\n<\/strong>Kao Jun-Honn, Taiwan, 2016, 60mins<\/em><\/p>\n

Proyek videografik ini menceritakan kisah tentang wacana dan topik yang menghilang dari situs-situs yang merosot atau ditinggalkan di bawah pengaruh neoliberal. Ibu sang seniman adalah penjaja pakaian selama berdekade di Pasar Bo-Ai dan tempat itu terus menjadi lambang penindasan dan depresi bagi sang seniman. Walaupun sarat dengan pengalaman dan kenangan pribadi, karya ini tidak berniat untuk menjadi dokumenter, dan naratif imajiner diperkenalkan untuk mereka ulang sejarah dan menghidupkan kembali tempat-tempat, mengangkat kondisi dan relasi etika dalam transformasi sosio-ekonomi yang cepat di area tersebut.<\/p>\n

This videographic project tells the stories of the vanishing discourse and subject from declining or abandoned sites under the neoliberal influence. The artist\u2019s mother was underwear vendor for decades in Bo-Ai Market and the place remains a symbol of oppression and depression for the artist. Despite being charged with personal memories and experiences, the work does not intend to be a documentary, and imaginary narratives are introduced to re-enact histories and relive spaces, addressing conditions and relations of ethics within the rapid socio-economic transformation of the area.<\/em><\/span><\/p>\n

Kao Jun-Honn<\/strong> lahir dan tinggal di Shulin, New Taipei City. Kao tertarik dengan dampak-dampak neoliberalisme di Asia Timur dan menggunakan dokumenter sebagai salah satu bentuk utama praktik artistiknya. Karya-karyanya yang berbasis riset berfokus terutama pada masyarakat kontemporer, dan terjun ke dalam ruang, politik, memori, dan sejarah melalui seni video, penulisan, dan performans.<\/p>\n

Kao Jun-Honn<\/em><\/strong> was born and lives in Shulin, New Taipei City. <\/em>Kao is interested in the neoliberalism impacts in East Asia, using documentary as one of the main forms of his artistic practice.<\/em> His<\/em> research-based works focus mainly on contemporary society, engaging space, politics, memories and histories through video art, writing and performance.<\/em><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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