{"id":5911,"date":"2016-08-21T13:30:07","date_gmt":"2016-08-21T06:30:07","guid":{"rendered":"http:\/\/arkipel.org\/?p=5911"},"modified":"2017-08-02T19:16:34","modified_gmt":"2017-08-02T12:16:34","slug":"nameless-notes-flow-curatorial-program","status":"publish","type":"post","link":"https:\/\/arkipel.org\/nameless-notes-flow-curatorial-program\/","title":{"rendered":"For The \u201cNameless\u201d: Notes on \u201cFlow\u201d Curatorial Program"},"content":{"rendered":"[vc_row][vc_column][vc_column_text]\n

Teruntuk \u201cYang Tak Bernama\u201d: Catatan Penayangan Kuratorial \u201cArus\u201d<\/h2>\n

 <\/p>\n

SABTU, 20 Agustus, 2016. Sehabis menonton salah satu karya Nawi Ismail di Kineforum, saya bergegas menuju GoetheHaus di Goethe Institut dengan berjalan kaki. Sebuah cara yang murah untuk menikmati beberapa gang kecil di Jakarta sembari menghabiskan waktu. Masih terlalu cepat 4 jam sebelum Program Kompetisi Internasional 3: \u201cArus\u201d, salah satu program dari ARKIPEL untuk malam ini yang dikuratori oleh Umi Lestari, dimulai. Hari itu, selain \u201cArus\u201d, ada dua program yang diputar sejak pukul 1 siang, yakni Kompetisi Internasional 1: \u201cKoridor\u201d (Kurator: Umi Lestari) dan Kompetisi Internasional 2: \u201cInterludia\u201d (Kurator: Ugeng T. Moetidjo).<\/p>\n

\"_stv0030\"<\/p>\n

Mengambil satu sudut pandang yang unik pada kejadian yang masih ramai dibicarakan di Eropa, yaitu migrasi, Umi Lestari memakai sebuah simbol, yakni \u201carus\u201d. Arus seringkali diidentikkan dengan sebuah dominasi besar-besaran yang dapat membuat kita terseret ke dalamnya. Di dalam sebuah sungai, hanya ada dua kemungkinan untuk menghadapi arus ini: menyatu ke arus utama, atau justru membuat arus sungai baru dengan sistem yang dapat menjadi tandingan.<\/p>\n

\"img_3768\"<\/p>\n

Tepat jam 7 malam setelah gong dibunyikan tanda filem akan segera dimulai, saya bergegas masuk dan duduk di barisan belakang bangku-bangku yang berada di depan ruang penayangan. Tidak ada orang di samping kiri dan kanan saya. Malam itu, termasuk saya, hanya ada 10 orang yang duduk berjarak cukup jauh satu sama lain di dalam GoetheHaus. Kami semua akan menonton tiga filem yang\u00a0 sudah saya intip dari website<\/em> arkipel.org.<\/p>\n

\"Ugeng

Ugeng T. Moetidjo saat membuka acara penayangan filem-filem Kompetisi Internasional di GoetheHaus, 20 Agustus 2016. \/ Ugeng T. Moetidjo welcomed the audiences in the GoetheHaus in the screening program, August 20, 2016.<\/p><\/div>\n

Yang pertama adalah Khmer <\/em>(atau Break In<\/em>, 2015) yang dibuat oleh kerjasama Mikel Aristregi dan Jos\u00e9 Bautista. Filem asal Spanyol berdurasi 25 menit, berbahasa Kamboja. Sebuah filem yang mengambil gambar dengan mewawancarai masing-masing tokohnya. Kisah yang dituturkan langsung oleh para pelakunya berdasarkan foto dari 10 tahun yang lalu, menyatu dan merangkai sebuah cerita mengenai kehidupan anak jalanan di Kamboja. Cerita dari filem ini seakan mengajak saya untuk memahami mereka yang biasa dipandang sebelah mata dan mungkin tidak diterima oleh masyarakat selama ini.<\/p>\n

\"_stv0072\"<\/p>\n

\"_stv0053\"<\/p>\n

\"_stv0040\"<\/p>\n

\"_stv0038\"<\/p>\n

\"_stv0001\"<\/p>\n

Filem kedua yang ditayangkan adalah Zone Zero<\/em> (2014) karya Farzad Moloudi, sebuah filem yang saya lewatkan pada Malam Pembukaan Festival ARKIPEL karena saat itu saya sedang menjadi liaison<\/em> officer<\/em> untuk salah satu pengisi acara yang tampil sebelum filem Zone Zero dimulai. Maka dari itu, saya tidak begitu heran ketika satu per satu dari penonton mulai meninggalkan bangku penonton\u2014agaknya mereka sudah menonton filem tersebut. Dalam keheningan yang tercipta antara jeda filem pertama dan kedua dimulai, dengan hanya tiga orang yang tersisa di dalam venue, saya melanjutkan tontonan saya.<\/p>\n

Zone Zero<\/em>, hampir sama seperti Break In<\/em>, mengambil gambar dengan tuturan para pelakunya yang tinggal bersama dalam sebuah gedung bekas gereja yang sudah ditinggalkan. Sebuah proyek yang bernama Proyek Gesu ini menyatukan berbagai kepala manusia dari latar belakang dan budaya yang berbeda. Sebuah proses untuk menghilangkan banyak batasan yang tercipta dari masing-masing keluarga ditunjukkan dalam filem ini; bagaimana mereka bisa mengatasi berbagai masalah dan tetap dapat bersatu meskipun menghadapi banyak ancaman dari luar.<\/p>\n

\"img_3769\"<\/p>\n

105 menit kemudian berlalu dengan cepat karena seperti arus, saya mengikuti jalan cerita yang cukup mengalir bergantian dengan suasana yang tegang dan santai. Kemudian, tibalah filem terakhir dari program malam ini. Hanya berdurasi 10 menit, Mediterranean Sea<\/em> (atau Mare Mediterraneum<\/em>, 2016) karya Markus Keim dan Beate Hecher dari Austria berhasil membuat saya penasaran. Sebuah karya sederhana tanpa narasi panjang yang berhasil menunjukkan sisa-sisa dari migrasi klandenstin. Berbagai teks yang kemudian berganti dengan 15-20 detik gambar lautan biru yang tenang, ombak yang besar dan juga sebuah sepatu yang tergantung di dekat sebuah kapal yang rusak terhantam ombak.[\/vc_column_text][mk_divider style=”thick_solid” border_color=”#f1f1f1″ margin_top=”40″ margin_bottom=”40″][vc_column_text]\n

For The \u201cNameless\u201d: Notes on \u201cFlow\u201d Curatorial Program<\/span><\/h2>\n

 <\/p>\n

What a prudent way to spend time in Jakarta! so I thought as I walked to GoetheHaus after watching Benyamin Tukang Kibul <\/em>(1975) at Kineforum. When I arrived in GoetheHaus, I still had four hours to go before International Competition Program 3: \u201cFlow\u201d, one of ARKIPEL\u2019s program curated by Umi Lestari. On the day, there\u2019re two programs screened beside the \u201cFlow\u201d, that were International Competition 1: \u201cCorridor\u201d (curated by Umi Lestari) and International Competition 2: \u201cInterludia\u201d (curated by Ugeng T. Moetidjo).<\/span><\/p>\n

Umi Lestari brought a very relevant discourse in Europe; migration. She used a symbol that was \u2018Flow\u2019 of which was often identified as a domination that dragged us into. In a river, there were only two probabilities to respond flow; joining it, or making new current as its counter-flow.<\/span><\/p>\n

Exactly at 7 pm after the gong was hit, I hurriedly entered into cinema room and sat on the back. There were only 10 people watching this program, and we sat in the distance from each other. We would watch three films; I knew it because I opened arkipel.org first.<\/span><\/p>\n

The first film was Khmer <\/em>or (Break In<\/em>, 2015), directed by Mikel Aristregi and Jose Bautista. This Spain-made film was 25 minutes, using Cambodian language, narrated by many interviews within. The tales told by their own actors, departing from 10-year memories, then were folded into a block of narration about street children in Cambodia. This film forced me to comprehend those underdogs and those who were rejected by society.<\/span><\/p>\n

The second one was Zone Zero (2014) by Farzad Moloudi. A film that I unfortunately missed on the opening night of ARKIPEL. Since this film was screened already on opening night, it wasn\u2019t surprising to see some people left their seats. I continued watching with the remaining three.<\/span><\/p>\n

Just like Break In<\/em>, Zone Zero documented the actors who lived inside an abandoned church that later was used as communal housing called Gesu Project. This project tried to unify hundreds of human from various cultural backgrounds. The process to erase that cultural border from each family were shown in this film; how they solved problems and still united with each others although so many obstacles facing.<\/span><\/p>\n

A hundred and five minutes passed by just like a river flow, as the narration in Zone Zero was very intriguing with its anxiety and excitement. Then, we came to the last film in this program; Mediterranean Sea <\/em>(Mare Mediterraneum<\/em>, 2016) by Markus Keim and Beate Hacher from Austria. This film succesfully captivated me. Mediterranean Sea<\/em> only lasted for 10 minutes yet it depicted a simple narration yet pivotal on what was left from clandestine migrants; giant wave, shoes hanging low near by a boat wrecked by the ocean.<\/span>[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Umi Lestari brought a very relevant discourse in Europe; migration. She used a symbol that was \u2018Flow\u2019 of which was often identified as a domination that dragged us into. 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Senang menulis dan bermain musik. Saat ini selain aktif bermusik di unit kegiatan mahasiswa OSUI Mahawaditra, ia juga menjadi relawan reporter untuk ARKIPEL social\/kapital tahun 2016 dan ARKIPEL Penal Colony tahun 2017. - Yosephine Gunawan (Jakarta, October 19, 1996) is a student of German Literature at the Faculty of Humanities, University of Indonesia. She likes writing and playing music. 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