{"id":5785,"date":"2016-08-20T08:55:25","date_gmt":"2016-08-20T01:55:25","guid":{"rendered":"http:\/\/arkipel.org\/?p=5785"},"modified":"2017-08-02T19:23:56","modified_gmt":"2017-08-02T12:23:56","slug":"on-the-opening-of-exhibition-program","status":"publish","type":"post","link":"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/","title":{"rendered":"On the Opening of Exhibition Program"},"content":{"rendered":"[vc_row][vc_column][vc_column_text]\n

Catatan Tentang Pembukaan Pameran Kultursinema #3: “Menangkap Cahaya”<\/em> dan Park Lanes: Simulasi Kecil di Ruang Besar<\/em><\/h2>\n

 <\/p>\n

18 Agustus, 2016, di Gudang Sarinah Ekosistem, Jakarta, pada pukul 19.00 WIB, dihelatkan acara pembukaan bagi dua program pameran yang menjadi rangkaian acara ARKIPEL social\/kapital \u2013 4th<\/sup> Jakarta International Documentary and Experimental Film Festival, 2016.<\/p>\n

Pameran dibuka dengan sambutan dari Yuki Aditya selaku Direktur Festival yang juga aktif berkegiatan di Forum Lentang. Kemudian, Otty Widasari, sebagai salah satu kurator pameran, memperkenalkan filem yang ia kuratori, berjudul Park Lanes<\/em> (2015) karya Kevin Jerome Everson, yang dipresentasikan ke dalam bentuk pameran, bertajuk \u201cPark Lanes: Simulasi Kecil Kebudayaan di Ruang Besar Peradaban\u201d. Filem berdurasi 8 jam ini merupakan dokumenter mengenai dunia kerja yang merepresentasikan sebuah lingkup kecil kebudayaan masyarakat dalam suatu lokasi. Dalam filem tersebut, para pekerja merakit komponen mesin dari bagian terkecil mesin itu sendiri. Komponen-komponen mesin tersebut dirakit, dimur, baut, dilas, dibor, disemprot, dan dirangkai membentuk suatu bagian mesin yang lebih besar, yang pada akhirnya membentuk mesin untuk sebuah bowling<\/em> center, yang menjadi bagian dari kebudayaan masyarakat tertentu.<\/p>\n

\"Yuki

Yuki Aditya, Direktur Festival ARKIPEL, membuka program pameran ARKIPEL social\/kapital. \/ Yuki Aditiya, the Director of ARKIPEL Festival welcomed the audiences at the opening of exhibition program of ARKIPEL social\/kapital.<\/p><\/div>\n

Sementara itu, program pameran Kultursinema #3: \u201cMenangkap Cahaya\u201d yang dilaksanakan di ruangan terpisah dari pameran Park Lanes, diperkenalkan oleh Afrian Purnama, asisten kurator, menggantikan Mahardika Yudha, kurator Kultursinema, yang saat itu berhalangan hadir. Filem-filem yang ditayangkan dalam Kultursinema #3 adalah filem Indonesia periode 1920-an sampai 1940-an karya Kwee Zwan Liang, The Teng Chun, Wong Bersaudara, dan Tan Tjoei Hock. Filem-Filem yang merupakan koleksi dari EYE Filmimuseum dan Sinematek Indonesia tersebut menegaskan bahwa sekitar 90 tahun yang lalu, orang-orang bumiputera mulai mencoba teknologi baru di dunia perfileman\u2014yang masih asing bagi mereka\u2014untuk menawarkan identitas diri mereka sendiri dalam dunia sinema.<\/p>\n

\"Otty

Otty Widasari, kurator pameran “Park Lanes: Simulasi Kecil di Ruang Besar” \/ Otty Widasari, the curator of “Park Lanes: Small Simulation in Big Room”<\/p><\/div>\n

\"Afrian

Afrian Purnama, asisten kurator Kultursinema #3: Menangkap Cahaya, memberikan menjelaskan ide kuratorial pameran. \/ Afrian Purnama, the assistant curator of Kultursinema #3, explained the curatorial concept of the exhibition.<\/p><\/div>\n

\"Tim

Tim produksi program pameran. Dari kiri ke kanan: Afrian Purnama, Viandira, dan Rachmadi. \/ Production team of the exhibition.<\/p><\/div>\n

Saat masuk ke ruang pameran Kultursinema #3: \u201cMenangkap Cahaya\u201d, saya dihadapkan pada banyak layar televisi yang tersebar di dekat pintu. Dua belas layar hitam putih menampilkan kisahnya masing-masing. Mayoritas dari filem-filem itu adalah karya Kwee Zwan Liang. Kwee Zwan Liang merekam apa pun yang terjadi di sekitarnya. Mulai dari memindahkan batu dekat rumah, proses pemakaman Kapitan Njoo Swie Liam, peristiwa kenegaraaan seperti parade Keraton Solo, kegiatan hobi dan olahraga tempo dulu, sampai transportasi modern dan keadaan kota kala itu. Semua peristiwa tersebut adalah rekaman murni dari kegiatan keseharian Kwee Zwan Liang pada masa kolonial Belanda.<\/p>\n

\"DSC00964\"<\/p>\n

\"DSC00969\"<\/p>\n

Dengan menggunakan kamera Cine Kodak yang dipasarkan secara massal di Indonesia pertengahan tahun 1920-an, ia mampu menangkap kisah dan peristiwa di sekitarnya. Hal ini menjadi menarik karena keberagaman topik yang diambil oleh Kwee Zwan Liang sendiri. Ia bercerita tentang apa yang terjadi dan siapa yang ada di dekatnya saat itu. Perhatiannya tak luput dari hal-hal kecil. Tidak banyak teknik yang ia gunakan dalam mengambil rekaman gambar bergerak tersebut. Ia hanya memakai teknik sederhana, seperti memperbesar gambar (zoom in<\/em>). Namun, kontinuitas pengambilan rekaman yang dilakukannya menunjukkan bahwa ia mempunyai pengetahuan dan kemauan dalam produksi sinema yang pada saat itu masih jarang ditemukan pada orang-orang.<\/p>\n

Salah satu karyanya yang menurut saya mengandung perasaan adalah \u201cKamu Melihatku, Kami Melihatmu\u201d (1926-1935) yang berisi footage<\/em>-nya saat berada di beberapa daerah, tempat bagi sebagian besar orang yang terekam dalam footage tersbut melihat kamera, berjalan mendekati kamera, atau berinteraksi dengan kamera. Orang-orang ini adalah orang-orang terdekat Kwee Zwan Liang.<\/p>\n

\"Penampakan

Penampakan suasana pameran Kultursinema #: Menangkap Cahaya. \/ The view of Kultursinema #3: Capturing the Lights exhibition.<\/p><\/div>\n

Sebuah layar yang terletak di tengah ruangan menampilkan kutipan wawancara The Teng Chun (Tahyar Idris) pada tahun 1972 oleh Salim Said dan Misbach Yusa Biran. Wawancara ini berfokus pada pembuatan filem saat teknologi filem masih sangat asing. Beberapa poin yang dipaparkan Tahyar Idris adalah tentang asal mula pembuat filem di Indonesia yang sebagiannya bukanlah dari bumiputera. Oleh karenanya, dalam produksi sebuah filem, terdapat beberapa nonpribumi yang saling bekerja sama dengan bumiputera, dan menuangkan ilmunya kepada mereka. Cara ini menjadi kegiatan belajar sinema orang bumiputera karena pada saat itu tidak ada sekolah filem untuk bumiputera.<\/p>\n

Tantangan terbesar dalam pembuatan filem Indonesia adalah persaingan dengan filem-filem Hollywood. Oleh karena itu, kelompok sutradara bumipeutera menargetkan penonton kelas bawah sebagai ruang dan publik distribusi. Dalam pencarian pemain untuk berperan di dalam filem juga bukanlah hal mudah karena dahulu ber-akting di dalam filem dianggap kurang baik dalam hal ekonomi. Karenanya, dalam filem hanya dipakai pemain tonil dan sandiwara. Konten pun harus benar-benar aman (bebas dari kegitan pembunuhan dan tembak-tembakan) untuk ditonton. Jika filem yang dibuat tidak \u201cbersih\u201d, Lembaga Sensor akan memotong bagian \u201ctidak aman\u201d tersebut.<\/p>\n

\"DSC00995\"<\/p>\n

Diapit layar yang berisikan wawancara dengan The Teng Chun, adalah dua layar yang berisikan kutipan yang diambil dari sebuah media cetak. Pembaca media cetak tersebut mengirimkan surat pembaca yang membahas mengenai perbandingan, kekurangan, dan kelebihan, serta pandangan mengenai filem Hindia Belanda dan filem Barat zaman terdahulu. Meskipun filem Hindia Belanda tidak bisa dianggap remeh, masih banyak tantangan yang datang dari filem Barat.<\/p>\n

\"DSC00984\"<\/p>\n

Di belakang layar-layar ini terdapat sekat-sekat yang membagi menjadi 5 ruang screening<\/em> filem. Filem-filem yang diputar di bagian ini adalah Matjan Berbisik<\/em> (1940) karya Tan Tjoei Hock yang merupakan filem laga, Roekihati<\/em> (1940) dan Siti Akbari<\/em> (1940) karya Joshua Wong dan Othniel Wong yang berisi potongan filem drama rumah tangga, Siloeman Babi Perang Siloeman Monjet<\/em> (1935) karya The Teng Chun yang berisi fantasi dan trik-trik sinema sederhana, Tengkorak Hidup<\/em> (1941) karya Tan Tjoei Hock yang bersifat gaib, Koeda Sembrani<\/em> (1942) yang mengadaptasi dongeng Seribu Satu Malam, dan Gagak Item<\/em> (1939) bergenre drama kepahlawanan karya Joshua Wong dan Othniel Wong, serta Serigala Item<\/em> (1941) karya Tan Tjoei Hock yang terinspirasi dari cerita Zorro. Beberapa di antara filem-filem ini memiliki kualitas yang memprihatinkan. Durasi penuh tidak diketahui, dan gambar terlihat buram serta suara tak terdengar jelas karena bunyi kresek-kresek<\/em>.<\/p>\n

Di ruang sekat paling tengah, diputar filem Si Njai<\/em> yang diproduksi tahun 2016 oleh Sejarah Sinema Kecil Indonesia. Si Nyai berisi tentang kritikan Kwee Tek Hoay terhadap filem Njai Dasima<\/em> (1896) oleh Gijsbert Francis. Kritikan ini meliputi perilaku yang di luar akal, seperti perilaku yang berkontradiksi dengan perilaku seseorang pada normalnya dalam kehidupan sehari-hari. Menurut Francis, usaha penciptaan karakter juga sangat minim. Adegan dua orang berlari ketakutan dari jembatan karena melihat roh menjadi tidak dapat dimengerti oleh penonton karena tidak ada suatu apa pun yang menandakan kemunculan roh di adegan itu. Meskipun begitu, beberapa bagian juga dipuji karena kualitas gambar yang sangat baik dan adanya adegan humor yang cocok dengan kehidupan kesehariaan di desa sehingga dapat membuat penonton tertawa lepas. Sempat ada wacana bahwa beberapa adegan akan dihapus dan dibuat ulang untuk memperbaikinya, namun pada nyatanya filem ini tak pernah diperbaiki. Oleh karena itu, Kwee Tek Hoay sangat menyayangkannya karena ia percaya bahwa filem ini dapat menjadi filem terbaik dalam Tan\u2019s Film Company jika betul-betul diperhatikan. Hanya dibutuhkan kemauan dan penggunaan akal sehat untuk menjadikan filem ini filem terbaik.<\/p>\n

\"DSC00977\"

Ruth Noack, salah satu kurator sekaligus juri ARKIPEL social\/kapital, sedang melihat pameran. \/ Ruth Noack, one of the curators as well as the jury at ARKIPEL social\/kapital, was watching the exhibition.<\/p><\/div>\n

Pembukaan pameran ini dikunjungi oleh 55 orang dan diliput oleh media Kompas<\/em>. Andra, salah satu pengunjung, mengaku Program Pameran di ARKIPEL social\/kapital ini memberikan pengalaman baru baginya karena ini pertama kalinya ia mengetahui tentang dunia sinema dari sembilan puluh tahun yang lalu yang bebas dari campur tangan politik yang biasa ia temui.[\/vc_column_text][mk_divider style=”thick_solid” border_color=”#f1f1f1″ margin_top=”40″ margin_bottom=”40″][vc_column_text]\n

On the Opening of Kultursinema #3: “Capturing the Lights”<\/em> and \u00a0Park Lanes: Small Simulation in Big Room<\/em><\/span><\/h2>\n

 <\/p>\n

August 18th, 2016, at seven o\u2019clock in the evening, right in Gudang Sarinah Ecosystem, Jakarta, one of series of events from ARKIPEL social\/kapital \u2013 4th<\/sup> Jakarta International Documentary and Experimental Film Festival was officiated, which is the exhibition program.<\/span><\/p>\n

The exhibition opened by greetings from Yuki Aditya, Festival Director, who himself part of Forum Lenteng committee. Otty Widasari as one of the exhibition curators, explained the film she curated, namely Park Lanes<\/em> (2015) by Kevin Jerome Everson, which was presented into a exhibition from, entitled \u201cPark Lanes: Small Simulation in Big Room\u201d. This eight hours film serves as a documentary about working life that representing a small section of culture in one location. In this film, a worker was assembling engine component out of the smallest parts of the engine itself. Machine components were arranged, screwed, bolted, welded, drilled, sprayed and assembled to form a part of a larger engine, hence formed the engine for a bowling center, which is part of the culture of a particular society.<\/span><\/p>\n

Meanwhile, the program of Kultursinema #3: \u201cCapturing the Lights\u201d took place in a separate room from the Park Lanes<\/em> in Gudang Sarinah. Afrian Purnama, as assistant curator, explained to the audiences about the curatorial because the curator Mahardika Yudha was unable to attend at the time. The films selected were Indonesian films from 1920s-1940s by Kwee Zwan Liang, The Teng Chun, Wong Brothers, and Tan Tjoei Hock. Collections from EYE Filmmuseum and Sinematek Indonesia, showed that roughly 90 years ago, natives started to experiments with the new technology in the cinematic world\u2014which somehow still strange for them\u2014to offer their own identity in the world of cinema.<\/span><\/p>\n

Entering the Kultursinema #3 exhibition space, I was facing scattered screens near the door. Twelve black and white screens was narrating their own stories. Majority of the films are the works of Kwee Zwan Liang. Kwee Zwan Liang captured anything that happened around him. From moving a rock near a house, funeral process of Captain Njoo Swie Liam, national events such as Solo Palace parade, hobbies and sports in the old times, until modern transportation and city situation. All of these events were purely recorded from Kwee Zwan Liang\u2019s daily life during the Dutch colonial era.<\/span><\/p>\n

By using Cine Kodak camera which was marketed in bulk in Indonesia during mid 1920s, he was able to capture the story and the events surrounding it. This becomes interesting because of the diversity of topics, chose by Kwee Zwan Liang himself. He told about what happened and who was nearby him at the time. He didn\u2019t miss out the tiny details, and not much camera technique he used.. He only used simple techniques such as enlarging the image (zoom in). However, continuity in recording the image does indicate that he had the knowledge and determination in the production of cinema, which at that time still quite rare to found.<\/span><\/p>\n

One of his works which I think quite touching is “You See Me, We See You” (1926-1935) which contains his footage in some areas, where most of the people who were in the footage stared at the camera, walking toward the camera, or interacting with the camera. These people are the ones closest to Kwee Zwan Liang.<\/span><\/p>\n

A screen located in the center of the room is showing excerpts of interview with The Teng Chun (Tahyar Idris) in 1972 by Salim Said and Misbach Yusa Biran. This interview focuses on filmmaking when the film technology was still very foreign. Some of the points presented by Tahyar Idris is the origin of the filmmakers in Indonesia mostly were not from the natives. Thus, in the production of a film, there are a few non-natives cooperated with natives, and shared their knowledge to them. Such way became the mode of cinema education for the natives due the absent of film school.<\/span><\/p>\n

The biggest challange of Indonesia filmmaking is for competing with Hollywood films. Therefore, group of native-directors were targeting lower-class audience as a space and public to be distributed. In the search of actors to act in the film was also not easy because in the old times, acting was considered unfavorable in terms of economy. Therefore film left with the choice of theatre actors. Content was also should be completely safe (free of gun-shootings or murder scene), otherwise Institute of Censorship will cut the ‘unsafe’ scene.<\/span><\/p>\n

The screen containing an interview with The Teng Chun is flanked with two screens containing quotations taken from the printed media. The printed media readers sent letters to the editor discussing the comparison, advantages and disadvantages, as well as views on the Indie film and the West film in earlier time. Although the Indie film cannot be considered insignificant, there were still many challenges that come from Western films.<\/span><\/p>\n

Behind these screens are the barriers that divide the film into five exhibition spaces. Films screened in this section are Matjan Berbisik<\/em> (1940) by Tan Tjoei Hock an action film, Roekihati <\/em>(1940) and Siti Akbari<\/em> (1940) by Joshua Wong & Othniel Wong, a soap opera, Siloeman Babi Perang Siloeman Monjet<\/em> (1935) by The Teng Chun contains fantasy and simple cinema tricks, the supernatural Tengkorak Hidup<\/em> (1941) by Tan Tjoei Hock, Koeda Sembrani (1942) adapted the fairy tale One Thousand and One Nights<\/em> and heroic drama Gagak Item<\/em> (1939) by Joshua Wong and Othniel Wong, and Serigala Item<\/em> (1941) by Tjoei Tan Hock inspired by the story of Zorro. Some of these films are in poor quality. The full-length is unknown, and the image looks blurry and the sound is inaudible because of the crackling noise.<\/span><\/p>\n

In the center room was played\u00a0Si Nyai<\/em> produced in 2016 by Sejarah Sinema Kecil Indonesia. Si Nyai<\/em> contained a criticism launched by\u00a0 Kwee Tek Hoay against Njai Dasima<\/em> film (1896) by Gijsbert Francis. This criticism included the contradicting behaviors beyond the normal behavior of people in our daily lives. There was lack of attempt for characterization. The scene of two people running in fear from the bridge for seeing spirits cannot be understood by the audience because there wasn\u2019t anything to indicate the emergence of a spirit in the scene. Even so, some parts were also praised for its excellent image quality and the humor scenes that match a daily life in a village so as to make the audience laugh out loud. A discourse once arose that some scenes will be deleted and recreated to fix it, but in fact this film had never been repaired. Therefore, Kwee was deeply regretting it because he believed that this film may be the best film in Tan’s Film Company if one truly observed. It only takes a willingness and use a common sense to make this film the best film.<\/span><\/p>\n

The opening of the exhibition was visited by 55 people and was covered by the Kompas<\/em>. Andra, one of the visitors admitted that this exhibition program of ARKIPEL social\/kapital provided a new experience for him because this is the first time he learned about the world of cinema from ninety years ago that is free from political interference in which he usually encountered.<\/span>[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

The opening of the exhibition was visited by 55 people and was covered by the Kompas. Andra, one of the visitors admitted that this exhibition program of ARKIPEL social\/kapital provided a new experience for him because this is the first time he learned about the world of cinema from ninety years ago that is free from political interference in which he usually encountered.<\/p>\n","protected":false},"author":122,"featured_media":5791,"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":[369,384,348],"tags":[292,165,310,406,293],"jetpack_publicize_connections":[],"yoast_head":"\nOn the Opening of Exhibition Program — ARKIPEL<\/title>\n<meta name=\"description\" content=\"August 18th, 2016, at seven o\u2019clock in the evening, right in Gudang Sarinah Ecosystem, Jakarta, one of series of events from ARKIPEL social\/kapital.\" \/>\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\/on-the-opening-of-exhibition-program\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"On the Opening of Exhibition Program — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"August 18th, 2016, at seven o\u2019clock in the evening, right in Gudang Sarinah Ecosystem, Jakarta, one of series of events from ARKIPEL social\/kapital.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/\" \/>\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=\"2016-08-20T01:55:25+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2017-08-02T12:23:56+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/open-6.jpg?fit=1202%2C800&ssl=1\" \/>\n\t<meta property=\"og:image:width\" content=\"1202\" \/>\n\t<meta property=\"og:image:height\" content=\"800\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Nadia Adilina\" \/>\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=\"Nadia Adilina\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/\"},\"author\":{\"name\":\"Nadia Adilina\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/76dc74493584597d39e2ded10fd6f792\"},\"headline\":\"On the Opening of Exhibition Program\",\"datePublished\":\"2016-08-20T01:55:25+00:00\",\"dateModified\":\"2017-08-02T12:23:56+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/\"},\"wordCount\":2525,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/open-6.jpg?fit=1202%2C800&ssl=1\",\"keywords\":[\"2016\",\"ARKIPEL\",\"Kultursinema\",\"Mahardika Yudha\",\"socialkapital\"],\"articleSection\":[\"ARKIPEL 2016 - social\/kapital\",\"Festival Stories\",\"Kultursinema Exhibition\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/\",\"url\":\"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/\",\"name\":\"On the Opening of Exhibition Program — ARKIPEL\",\"isPartOf\":{\"@id\":\"https:\/\/arkipel.org\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/open-6.jpg?fit=1202%2C800&ssl=1\",\"datePublished\":\"2016-08-20T01:55:25+00:00\",\"dateModified\":\"2017-08-02T12:23:56+00:00\",\"description\":\"August 18th, 2016, at seven o\u2019clock in the evening, right in Gudang Sarinah Ecosystem, Jakarta, one of series of events from ARKIPEL social\/kapital.\",\"breadcrumb\":{\"@id\":\"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/#primaryimage\",\"url\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/open-6.jpg?fit=1202%2C800&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/open-6.jpg?fit=1202%2C800&ssl=1\",\"width\":1202,\"height\":800},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/arkipel.org\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"On the Opening of Exhibition Program\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/arkipel.org\/#website\",\"url\":\"https:\/\/arkipel.org\/\",\"name\":\"ARKIPEL\",\"description\":\"Jakarta International Documentary and Experimental Film Festival\",\"publisher\":{\"@id\":\"https:\/\/arkipel.org\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/arkipel.org\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/arkipel.org\/#organization\",\"name\":\"Arkipel\",\"url\":\"https:\/\/arkipel.org\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1\",\"width\":901,\"height\":351,\"caption\":\"Arkipel\"},\"image\":{\"@id\":\"https:\/\/arkipel.org\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/arkipel.festival\/\",\"https:\/\/x.com\/arkipel\",\"https:\/\/www.instagram.com\/arkipel\/\",\"https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/76dc74493584597d39e2ded10fd6f792\",\"name\":\"Nadia Adilina\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/arkipel.org\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/edce98bf80c234f673681949cbe4362e?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/edce98bf80c234f673681949cbe4362e?s=96&d=mm&r=g\",\"caption\":\"Nadia Adilina\"},\"description\":\"(lahir di Jakarta, 18 Maret 1996), mahasiswa jurusan Ilmu Komunikasi Universitas Indonesia. Aktif di Himpunan Mahasiswa Ilmu Komunikasi. Menaruh perhatian pada bidang seni visual. (born in Jakarta, March 18, 1996), student of Communication programs, University of Indonesia. She currently sits in Students Council of Communication Program. She likes visual arts.\",\"url\":\"https:\/\/arkipel.org\/people\/nadiaadilina\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"On the Opening of Exhibition Program — ARKIPEL","description":"August 18th, 2016, at seven o\u2019clock in the evening, right in Gudang Sarinah Ecosystem, Jakarta, one of series of events from ARKIPEL social\/kapital.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/","og_locale":"en_US","og_type":"article","og_title":"On the Opening of Exhibition Program — ARKIPEL","og_description":"August 18th, 2016, at seven o\u2019clock in the evening, right in Gudang Sarinah Ecosystem, Jakarta, one of series of events from ARKIPEL social\/kapital.","og_url":"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/","og_site_name":"ARKIPEL","article_publisher":"https:\/\/www.facebook.com\/arkipel.festival\/","article_published_time":"2016-08-20T01:55:25+00:00","article_modified_time":"2017-08-02T12:23:56+00:00","og_image":[{"width":1202,"height":800,"url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/open-6.jpg?fit=1202%2C800&ssl=1","type":"image\/jpeg"}],"author":"Nadia Adilina","twitter_card":"summary_large_image","twitter_creator":"@arkipel","twitter_site":"@arkipel","twitter_misc":{"Written by":"Nadia Adilina","Est. reading time":"13 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/#article","isPartOf":{"@id":"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/"},"author":{"name":"Nadia Adilina","@id":"https:\/\/arkipel.org\/#\/schema\/person\/76dc74493584597d39e2ded10fd6f792"},"headline":"On the Opening of Exhibition Program","datePublished":"2016-08-20T01:55:25+00:00","dateModified":"2017-08-02T12:23:56+00:00","mainEntityOfPage":{"@id":"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/"},"wordCount":2525,"commentCount":0,"publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"image":{"@id":"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/open-6.jpg?fit=1202%2C800&ssl=1","keywords":["2016","ARKIPEL","Kultursinema","Mahardika Yudha","socialkapital"],"articleSection":["ARKIPEL 2016 - social\/kapital","Festival Stories","Kultursinema Exhibition"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/","url":"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/","name":"On the Opening of Exhibition Program — ARKIPEL","isPartOf":{"@id":"https:\/\/arkipel.org\/#website"},"primaryImageOfPage":{"@id":"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/#primaryimage"},"image":{"@id":"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/#primaryimage"},"thumbnailUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/open-6.jpg?fit=1202%2C800&ssl=1","datePublished":"2016-08-20T01:55:25+00:00","dateModified":"2017-08-02T12:23:56+00:00","description":"August 18th, 2016, at seven o\u2019clock in the evening, right in Gudang Sarinah Ecosystem, Jakarta, one of series of events from ARKIPEL social\/kapital.","breadcrumb":{"@id":"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/#primaryimage","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/open-6.jpg?fit=1202%2C800&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/open-6.jpg?fit=1202%2C800&ssl=1","width":1202,"height":800},{"@type":"BreadcrumbList","@id":"https:\/\/arkipel.org\/on-the-opening-of-exhibition-program\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/arkipel.org\/"},{"@type":"ListItem","position":2,"name":"On the Opening of Exhibition Program"}]},{"@type":"WebSite","@id":"https:\/\/arkipel.org\/#website","url":"https:\/\/arkipel.org\/","name":"ARKIPEL","description":"Jakarta International Documentary and Experimental Film Festival","publisher":{"@id":"https:\/\/arkipel.org\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/arkipel.org\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/arkipel.org\/#organization","name":"Arkipel","url":"https:\/\/arkipel.org\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/","url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","contentUrl":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2020\/02\/logo_arkipel-full-black.jpg?fit=901%2C351&ssl=1","width":901,"height":351,"caption":"Arkipel"},"image":{"@id":"https:\/\/arkipel.org\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/arkipel.festival\/","https:\/\/x.com\/arkipel","https:\/\/www.instagram.com\/arkipel\/","https:\/\/www.youtube.com\/channel\/UCr6MA0fZypBs9tHpfNa3vVQ"]},{"@type":"Person","@id":"https:\/\/arkipel.org\/#\/schema\/person\/76dc74493584597d39e2ded10fd6f792","name":"Nadia Adilina","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/arkipel.org\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/edce98bf80c234f673681949cbe4362e?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/edce98bf80c234f673681949cbe4362e?s=96&d=mm&r=g","caption":"Nadia Adilina"},"description":"(lahir di Jakarta, 18 Maret 1996), mahasiswa jurusan Ilmu Komunikasi Universitas Indonesia. Aktif di Himpunan Mahasiswa Ilmu Komunikasi. Menaruh perhatian pada bidang seni visual. (born in Jakarta, March 18, 1996), student of Communication programs, University of Indonesia. She currently sits in Students Council of Communication Program. She likes visual arts.","url":"https:\/\/arkipel.org\/people\/nadiaadilina\/"}]}},"jetpack_featured_media_url":"https:\/\/i0.wp.com\/arkipel.org\/wp-content\/uploads\/2016\/08\/open-6.jpg?fit=1202%2C800&ssl=1","jetpack_shortlink":"https:\/\/wp.me\/p3vpmt-1vj","jetpack_sharing_enabled":true,"jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/5785"}],"collection":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/users\/122"}],"replies":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/comments?post=5785"}],"version-history":[{"count":0,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/posts\/5785\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media\/5791"}],"wp:attachment":[{"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/media?parent=5785"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/categories?post=5785"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arkipel.org\/wp-json\/wp\/v2\/tags?post=5785"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}