{"id":6521,"date":"2017-08-05T21:21:21","date_gmt":"2017-08-05T14:21:21","guid":{"rendered":"http:\/\/arkipel.org\/?p=6521"},"modified":"2017-08-11T21:18:37","modified_gmt":"2017-08-11T14:18:37","slug":"arkipel-penal-colony-festival-forum","status":"publish","type":"post","link":"https:\/\/arkipel.org\/arkipel-penal-colony-festival-forum\/","title":{"rendered":"ARKIPEL Penal Colony – Festival Forum: Panelists"},"content":{"rendered":"[vc_row][vc_column width=”1\/2″][vc_column_text]Pada Forum Festival 2017, ARKIPEL Penal Colony <\/em>\u2013 5th<\/sup> International Documentary and Experimental Film Festival menghadirkan Fang-Tze Hsu sebagai Pembicara Kunci. Di acara pembukaan forum, Fang-Tze Hsu akan menyampaikan makalahnya yang berjudul \u201cWhen Dead Labor Speaks: Subjectivity, Subjugation, and Meta-Cinema<\/em>\u201d.<\/p>\n

“Sinema telah sering berfungsi sebagai titik masuk kritis bagi refleksi dan kritik terhadap formasi subjek; khususnya, perkembangan yang terjadi secara bersamaan dari wacana neokolonial dan rezim pembangunan bangsa yang telah dinaturalisasi oleh geopolitik Perang Dingin era pasca Perang Dunia II Asia. Akan tetapi, sampai sejauh mana media gambar bergerak\u2014termasuk dokumenter, filem layar lebar, eksperimental, dan sebagainya\u2014juga bisa dipahami untuk membantu melafalkan realitas historis di luar narasi besar kekuasaan? Atau, untuk menindaklanjutinya dengan pandangan seorang sarjana filem, Paul Willemen, bagaimana seseorang bisa menguraikan dan mengambil kembali bahwa “wacana image<\/em> itu, dan juga teknologi yang terkait dengannya, memberikan medan yang sangat menguntungkan untuk narasi yang melampiaskan ketegangan yang terkait dengan masalah dead labor<\/em>“? Presentasi ini adalah sebuah analisis komparatif mengenai cara karya gambar bergerak tertentu yang berusaha memetakan rangkaian kesatuan historis, mulai dari pemerintahan kolonial sampai paskolonialisme Perang Dingin Asia, sambil memperhatikan bagaimana representasi-diri, sesuai dengan refleksivitas-diri, memungkinkan penemuan kembali aneka diri dalam proses mendefinisikan bentuk sinematik dari penindasan. Praktisi artistik dan karya-karya yang saya teliti adalah A.K.A. Serial Killer<\/em> (1969) karya Masao Adachi, Okinawan Dream Show<\/em> (1974) karya Takemine Go, Oliver<\/em> (1983) karya Nick Deocampo (1983), dan Eleven Men<\/em> (2016) karya Nguyen Trinh Thi. Semua filem, bagaimanapun, melebihi klasifikasi generik, baik formal, nasional, atau historiografis. Dengan kata lain, dengan mengadopsi konsep meta-sinema, saya memaparkan bagaimana filem-filem ini mengkritik aparatus sinema para penindas. Analisis saya mengambil dua bagian: Pertama, saya tertarik pada bagaimana para seniman ini menjadikan karya mereka sebagai proses delinking<\/em>, dengan keterikatan afektif seperti itu yang membentuk hubungan homogen kita dengan proses modernisasi. Kedua, bacaan saya berfokus pada bagaimana teknik-teknik unik dari pembuatan gambar bergerak para seniman ini dapat dianggap sebagai upaya terus-menerus untuk mendasarkan diri mereka pada pengalaman hidup masa lalu kolektif mereka dalam sebuah mode kerja memori. Dengan terlibat dalam kecenderungan refleksif bersama dari karya-karya yang disebutkan di atas, mereka juga menunjukkan bagaimana formasi subjek dalam bayangan panjang proses pembangunan bangsa Perang Dingin secara praktis dan alegoris mewujudkan kekerasan struktural yang tercetak pada diri sendiri.
\n(Abstrak dari “When Dead Labor Speaks: Subjectivity, Subjugation, and Meta-Cinema<\/em>” oleh Fang-Tze Hsu).<\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]At the Festival Forum 2017, ARKIPEL Penal Colony – 5th International Documentary and Experimental Film Festival presents FANG-TZE SHU as the Keynote Speaker. At the opening day of the forum, Fang-Tze Hsu will present her paper, \u201cWhen Dead Labor Speaks: Subjectivity, Subjugation, and Meta-Cinema\u201d.<\/span><\/p>\n

“Cinema has often functioned as a critical point of entry for the reflection and critique of subject formation; in particular, the concurrent development of neocolonial discourse and nation-building regimes that have been naturalized by the Cold War geopolitics in post-War World II Asia. However, to what extent can the media of the moving image\u2014including documentaries, feature films, experimental shorts, and so forth\u2014also be understood to help enunciate historical realities beyond the grand narratives of dominance? Or, to follow up with late film scholar Paul Willemen\u2019s proposal, how can one decipher and retrieve that \u201cimage-discourses, and thus the technologies associated with them, provide a particularly propitious terrain for narrations venting the tensions associated with the dead labor issue\u201d? This presentation is a comparative analysis of the way certain moving image works have sought to map the historical continuum, from colonial rule to Cold War Asian post-colonialism, while attending to the way that self-representation, in accordance with self-reflexiveness, allows for the rediscovering of multiple selves in the process of defining the cinematic forms of subjugation. The artistic practitioners and works I examine are Masao Adachi\u2019s\u00a0A.K.A. Serial Killer\u00a0(1969), Takemine Go\u2019s\u00a0Okinawan Dream Show\u00a0(1974), Nick Deocampo\u2019s\u00a0Oliver\u00a0(1983), and Nguyen Trinh Thi\u2019s\u00a0Eleven Men\u00a0(2016). All films, however, exceed generic classification, whether formal, national, or historiographical. In other words, by adopting the concept of meta-cinema, I argue how these films criticize the oppressors\u2019 apparatus of cinema. My analysis takes two parts: First, I am interested in how these artists render their works as a process of delinking, with such an affective attachment that constitutes our homogenous relation with the process of modernization. Second, my reading focuses on how these artists\u2019 unique techniques of moving image-making can be considered as a persistent attempt to ground their multiple selves in the lived experiences of their collective past in a mode of memory work. By engaging in the shared reflexive tendency of the above mentioned works, they also show how subject formation in the long shadow of the Cold War nation-building process practically and allegorically embodies the structural violence imprinted upon oneself.”
\n(Abstract from \u201cWhen Dead Labor Speaks: Subjectivity, Subjugation, and Meta-Cinema\u201d by Fang-Tze Hsu).<\/span><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Keynote Speech” color=”custom” border_width=”2″ accent_color=”#36617a”][mk_fancy_title font_family=”none” align=”center”]When Dead Labor Speaks: Subjectivity, Subjugation, and Meta-Cinema<\/em><\/strong>[\/mk_fancy_title][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]\n

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Hsu Fang-Tze<\/p><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text]HSU FANG-TZE\u00a0<\/strong>adalah kurator independen, translator, dan kandidat Ph.D. di bidang Cultural Studies in Asia di National University of Singapore. Minat penelitiannya antara lain tentang pengetahuan kontemporer, estetika Perang Dingin, memori, filosofi teknologi, dan pewujudan praktik artistic dalam kehidupan sehari-hari. Hsu juga ko-kurator iNegative Horizon: 5th<\/sup> Taiwan International Video Art Exhibition, <\/em>2016, dan tulisannya dapat ditemukan di ARTCO Magazine<\/em> (Taiwan) dan LEAP<\/em> (Cina), dan portal online<\/em>, No Man\u2019s Land<\/em>.<\/p>\n

–<\/p>\n

HSU FANG-TZE<\/strong>\u00a0is an independent curator, a translator, and a Ph.D. candidate in the Cultural Studies in Asia programme of the National University of Singapore. Her research interests include contemporary knowledge formation, Cold War aesthetics, memory, philosophies of technology, and the embodiment of artistic praxis in everyday life. Hsu is the co-curator of Negative Horizon: 5th<\/sup> Taiwan International Video Art Exhibition, 2016 and her writings can be found in ARTCO Magazine<\/em> (Taiwan) and LEAP<\/em> (China), and the online art criticism platform, No Man\u2019s Land.<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Panel I” color=”custom” border_width=”2″ accent_color=”#36617a”][mk_fancy_title font_family=”none” align=”center”]Anonimitas, Amatirisme, dan Habitus Gambar Bergerak
\n<\/strong>Anonymity, Amateurism, and Habitus of Moving Image<\/em>[\/mk_fancy_title][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]\n

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Riar Rizaldi<\/p><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text]Riar Rizaldi<\/strong> adalah seniman dari Indonesia. Karya-karyanya terutama berfokus pada hubungan antara manusia dan teknologi, media dan konsumen elektronik, sirkulasi gambar dan intervensi jaringan. Rizaldi telah mengembangkan praktik ‘post-disciplinarity’, di mana dia bekerja sama dan membangun karyanya di luar disiplin dan institusi seni. Melalui karyanya, dia mempertanyakan gagasan tentang temporalitas, virtualitas, kecerdasan buatan, arkeologi media, dan konsekuensi teknologi yang tak terduga dalam kehidupan manusia. Karya-karyanya telah dipamerkan dan dipentaskan di lingkup internasional.<\/p>\n

–<\/p>\n

Riar Rizaldi<\/strong> is an artist from Indonesia. His works mainly focus on the relationship between human and technology, media and consumer electronics, image circulation and network intervention. Rizaldi has developed a practice of \u2018post-disciplinarity,\u2019 in which he collaborates and building his works beyond the art disciplines and institutions. Through his works, he questions the notion of (a)temporality, virtuality, artificial intelligent, media archeology, and unanticipated consequences of technologies in human life. His works has been exhibited and performed internationally.<\/span><\/em>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]\n

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Anggraeni Widiasih<\/p><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text]Anggraeni Widhiasih<\/strong> (Sleman, 1993), meraih gelar S1 Hubungan Internasional di Universitas Paramadina pada 2016. Saat ini ia adalah anggota Forum Lenteng yang bertanggung jawab untuk Divisi Riset dan Pengembangan. Ia juga berpartisipasi dalam Program Diorama – AKUMASSA. Selain aktif menulis kritik tentang filem di Jurnal Footage<\/em>, ia juga anggota peneliti di Koperasi Riset Purusha dan pegiat teater kafha di Universitas Paramadina.<\/p>\n

–<\/p>\n

Anggraeni Widhiasih <\/em><\/strong>(Sleman, 1993), achieved her Bachelor Degree of International Relations study from Paramadina University in 2016. She is currently an active member of Research and Development program at Forum Lenteng and\u00a0 Diorama project by AKUMASSA, Forum Lenteng. Aside of actively writing film critic in <\/em>Jurnal Footage, she is also a member of Koperasi Riset Purusha and kafha theatre in Paramadina University.<\/em><\/span>
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Ignatius Haryanto<\/p><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text]Ignatius Haryanto<\/strong> (Bandung, 1969) adalah penulis, peneliti, dan pengamat isu media. Meraih gelar S-1 bidang Ilmu Komunikasi Massa dari Universitas Indonesia (1994) dan S-2 Filsafat Sosial Budaya dari Sekolah Tinggi Filsafat Driyarkara, Jakarta (2012). Pernah bekerja sebagai wartawan (1994-2003) di beberapa majalah berita seperti Forum Keadilan, D&R, dan Tempo. Aktif menulis berbagai artikel tentang media dan jurnalisme di media massa dan sejumlah jurnal, baik dalam maupun luar negeri. Pada 1994, bersama sejumlah rekan mendirikan Lembaga Studi Pers dan Pembangunan (LSPP) dan menjadi Direktur Eksekutif LSPP (2007-2014). Dia juga aktif menulis dan menyunting puluhan buku di antaranya Wartawan Lokal, Wartawan Handal: Buku Panduan bagi Pelatihan Wartawan Lokal<\/em> (AJI, 2005); Aku Selebriti Maka Aku Penting<\/em> (Bentang Pustaka, 2006), dan Indonesia Raya Dibredel<\/em> (LKiS, 2006). Ia juga menjadi kontributor buku Politics and the Media in Twenty-First Century Indonesia: Decade of Democracy<\/em> (Routledge Curzon, 2011). Buku terakhir yang ia tulis adalah Jurnalisme Era Digital: Tantangan Industri Media abad 21<\/em> (Penerbit Buku Kompas, 2014). Sejak 2008 menjadi anggota Ombudsman Harian Kompas. Ignatius Haryanto juga merupakan Peneliti senior Lembaga Studi Pers dan Pembangunan, serta anggota Dewan Penasehat Remotivi.<\/p>\n

–<\/p>\n

Ignatius Haryanto<\/em><\/strong> (Bandung, 1969) <\/em>is a writer, researcher, and observers of media issues. He holds a <\/em>bachelor degree in Mass Communication from University of Indonesia (1994) and master degree in Philosophy of Social and Culture from Driyarkara School of Philosophy, Jakarta (2012). He has worked as a journalist (1994-2003) in several news magazines such as the Justice Forum, D & R and Tempo. He is also active writing articles on media and journalism in the mass media and a number of journals, both in national and international journals. In 1994, together with the associate council of the Lembaga Studi Persatuan dan Pembangunan (LSPP) and became Executive Director of LSPP (2007-2014). He is also active writing and editing dozens of books <\/em>such as<\/em> Local Journalist, Reliable Journalist : Handbook for Local Journalist Training (AJI, 2005). <\/em>I’m a Celebrity Thus I’m Important (Bentang Pustaka, 2006), and <\/em>Indonesia Raya Dibredel (LKiS, 2006), he is also a contributor to <\/em>Political and Media books on Twenty-First Century Indonesia: Decade of Democracy (Routledge Curzon, 2011). The last book he writes is <\/em>Digital Age Journalism: The Challenges of 21st Century Media Industry (Book Publishers Kompas, 2014). Since 2008 he became a member of Ombudsman Harian Kompas. Ignatius Haryanto is also a Senior Researcher of the Institute for Press and Development Studies and a member of Remotivi Advisory Board.<\/em>
\n<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Panel II” color=”custom” border_width=”2″ accent_color=”#36617a”][mk_fancy_title font_family=”none” align=”center”]Kurasi Filem sebagai Prawarsa Geopolitik
\n<\/strong>Film Curating as Geopolitical Impetus<\/em>[\/mk_fancy_title][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]\n

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Jihyeon Song<\/p><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text]Jihyeon Song<\/strong> (lahir 1987), bekerja Indpenden di Seoul, tertarik mengeksplorasi \u2018material\u2019 dan karya-karya seni berbasis filem di ranah seni kontemporer. Senantiasa, ia juga mengkaji bidang kurasi filem. Ia mengurasi pameran, program penayangan, di antaranya \u201cUnFolding Time\u201d (2015), \u201cDuring the Play\u201d (2017). Fokusnya ialah karya-karya gambar bergerak berbasis seni visual di ranah Seni Korea.<\/p>\n

–<\/p>\n

Jihyeon Song<\/em><\/strong> (born 1987), works an Independent based in Seoul, is interested in exploring \u2018<\/em>Material<\/em>\u2019 and \u2018Film-based Art Work\u2019 in Contemporary Arts. Constantly, she is exploring film curatorship. She curated exhibition, screening programs including <\/em>\u201c<\/em>UnFolding Time\u201d (2015), <\/em>\u201c<\/em>During the Play\u201d (2017). Her focus on visual arts-based moving image in Korean Art.<\/em><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]\n

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Ismail Basbeth<\/p><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text]Ismail Basbeth<\/strong>, pernah mengenyam pendidikan musik tradisional di Bandung sebelum akhirnya pindah dan menyelesaikan studinya di Jurusan Komunikasi Universitas Muhammadiyah Yogyakarta. Mulai aktif di dunia filem saat terlibat di Jogja-Netpac Asian Film Festival 2006. Tahun 2008, ia membuat filem pendeknya yang pertama, Hide and Sleep<\/em>. Setelah itu, ia mendirikan perusahaan produksi bernama Hide Project Indonesia. Tahun 2012, ia berhasil terseleksi untuk berpartisipasi dalam Berlinale Talent Campus dan Berlin International Film Festival dan juga Asian Film Academy di Busan International Film Festival. Film pendeknya, Shelter<\/em> (2011), dipresentasikan di Busan dan juga Rotterdam Film Festival. Filemnya yang terkanal, antara lain Another Trip To The Moon<\/em> (2015) dan The Carousel Never Stops Turning<\/em> (2017). Tahun 2011, dia mendapat fellowship untuk belajar di Asian Film Academy (AFA) di Busan, Korea Selatan dan memenangkan BFC & SHOCS Scholarsip Fund. Ismail Basbeth juga merupakan produser dan pendiri Matta Cinema, sebuah rumah produksi yang fokus pada memproduksi audiens dan film artistik. Ia juga merupakan salah satu pendiri dari Bosan Berisik Lab, sebuah laboratorium untuk para pembuat film.<\/p>\n

–<\/p>\n

Ismail Basbeth<\/em><\/strong>, studied traditional music in Bandung before finally moved and finished his studies at the Communication Department of Muhammadiyah University of Yogyakarta. Began active in the filmmaking when he was involved in Jogja-Netpac Asian Film Festival 2006. In 2008, he made his first short film, <\/em>Hide and Sleep. After that, he founded a production company called Hide Project Indonesia. In 2012, he was selected to participate in the Berlinale Talent Campus and the Berlin International Film Festival as well as the Asian Film Academy at the Busan International Film Festival. His short film, <\/em>Shelter (2011), was presented in Busan as well as the Rotterdam Film Festival. His films include <\/em>Another Trip To The Moon (2015) and <\/em>The Carousel Never Stops Turning (2017). In 2011, he got a fellowship to study at the Asian Film Academy (AFA) in Busan, South Korea and won the BFC & SHOCS Scholarship Fund. Ismail Basbeth is also the producer and founder of Matta Cinema, a production house focused on producing audiences and artistic films. He is also one of the founders of Bosan Berisik Lab, a laboratory for filmmakers.<\/em><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]\n

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Aryo Danusiri<\/p><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text]Aryo Danusiri<\/strong> adalah seorang sutradara kelahiran Jakarta tahun 1973. Ia mengkhususkan karyanya pada filem dokumenter yang mengangkat isu masalah hak manusia dan budaya. Filemnya yang berjudul Kambing Kampung Yang Kena Pukul<\/em>, dirilis pada tahun 1999. Filem ini pernah dipresentasikan di Amnesty Film Festival di Amsterdam. Karyanya juga diputar di beberapa negara seperti Royal Anthropological Institute (RAI) Film Festival, Inggris, Margaret Mead Film Festival, Amerika, Yamagata “New Asia Current.\u201d. Filem dokumenter panjang pertamanya, Playing Between Elephants<\/em> dianugerahi “Movies That Matters for Best Human Rights Film” di Jakarta International Film Festival 2007 dan “Dokumenter Terbaik” di Brussels Independent IFF. Aryo mengambil S2 di Tromso University, Norwegia, dengan jurusan visual cultural studies. Setelah itu ia juga mengambil program doktoral di Harvard University dengan jurusan antropologi visual.<\/p>\n

–<\/p>\n

Aryo Danusiri<\/em><\/strong> is a director born in Jakarta on 1973. He specializes his works on documentary film raising issues of human and cultural rights. His film, entitled Kambing Kampung Yang Kena Pukul, was released in 1999. This film was presented at the Amnesty Film Festival in Amsterdam. His works were also screened in several countries such as the Royal Anthropological Institute (RAI) Film Festival, England, Margaret Mead Film Festival, America, Yamagata “New Asia Current.” His first long documentary film, <\/em>Playing Between Elephants was awarded “Movies That Matters for Best Human Rights Film” at the Jakarta International Film Festival 2007 and the “Best Documentary” in Brussels Independent IFF. Aryo took his Master degree in Tromso University, Norway, majoring in visual cultural study. After that he also took a doctoral program in Harvard University majoring on visual anthropology.<\/em><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Panel III” color=”custom” border_width=”2″ accent_color=”#36617a”][mk_fancy_title font_family=”none” align=”center”]Platform Kolektif Filem sebagai Agenda Katalis
\n<\/strong>Platform of Film Collective as Catalytic Agenda<\/em>[\/mk_fancy_title][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]\n

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Sinema Kolekan<\/p><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text]Muhammad Reza<\/strong> dan Ario Fazrien<\/strong>, bersama Budi Setiawan<\/strong> dan Muhammad Haviz<\/strong>, adalah pendiri Sinema Kolekan, sebuah inisiatif pemuda yang berfokus pada aktivitas pengarsipan, kuratorial, presentasi, dan pengembangan jaringan komunitas dan pegiat-pegiat muda di bidang audiovisual, khususnya tingkat mahasiswa. Sinema Kolekan diinisiasi oleh Jakarta 32\u00b0C melalui program lokakarya filem. Saat ini, Sinema Kolekan juga bertanggung jawab atas pengelolaan Forumsinema, sebuah ruang alternatif untuk pengembangan wacana sinema milik Forum Lenteng, di Gudang Sarinah Ekosistem, Jakarta.<\/p>\n

–<\/p>\n

Muhammad Reza <\/em><\/strong>and Ario Fazrien<\/strong>, along with Budi Setiawan<\/strong> and Muhammad Haviz<\/strong>, are founders of Sinema Kolekan, a youth initiative that focuses on the activities of archiving, curatorial, presentations and development of community networks and young audiovisual activists, especially on the level of student. Sinema Kolekan was initiated through a film workshop program by Jakarta 32\u00b0C. Currently, Sinema Kolekan is also responsible for the management of Forumsinema, an alternative space for the development of Lenteng Forum’s cinema discourse, at Gudang Sarinah Ekosistem, Jakarta.<\/em><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]\n

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Yonri Revolt<\/p><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text]Yonri Revolt<\/strong> adalah penulis, jurnalis warga, pembuat filem, dan salah satu pendiri Komunitas Yoikatra yang berbasis di Timika, Papua. Tahun 2014, komunitas ini berkolaborasi dengan Forum Lenteng mengembangkan program Halaman Papua dengan fokus isu kesehatan dan pelayanan kesehatan di Papua. Filem dokumenter yang pernah ia produksi bersama Yoikatra, antara lain Tiga Mama Tiga Cinta<\/em> (2015), Di Balik Taman Eden <\/em>(2015). Tahun 2016, berkolaborasi dengan Febian Kakisina, filem dokumenter mereka yang berjudul Mama Amamapare<\/em> (2016) memenangkan penghargaan Dokumenter Pendek Terbaik di Festival Film Indonesia, dan Film Terbaik di Eagle Awards, Documentary Competition. Sejak tahun 2015, Yoikatra mengembangkan berbagai proyek dokumenter dan jurnalisme warga yang melibatkan partisipasi warga lokal, mengangkat isu-isu krusial yang terjadi di Papua, serta pengembangan program pengarsipan dan presentasi publik.<\/p>\n

–<\/p>\n

Yonri Revolt<\/em><\/strong> is a writer, citizen journalist, filmmaker, and co-founder of Yoikatra Community, based in Timika, Papua. In 2014, the community collaborated with Forum Lenteng to develop the Halaman Papua program which focus on health issues and health services in Papua. The documentary film he once produced with Yoikatra are <\/em>Tiga Mama Tiga Cinta (2015), <\/em>Di Balik Taman Eden (2015). In 2016, in collaboration with Fabian Kakisina, their documentary film entitled <\/em>Mama Amamapare (2016) won the Best Short Documentary Award at the Indonesian Film Festival and Best Film at the Eagle Awards, Documentary Competition. Since 2015, Yoikatra has developed many documentary projects and citizen journalism involving local citizenship, raising crucial issues in Papua, and developing public archiving and presentation programs.<\/em><\/span>
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Nguyen Trinh Thi<\/p><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text]Nguyen Trinh Thi<\/strong> adalah seniman yang tinggal di Hanoi, Vietnam. Praktik berkeseniannya yang beraneka, melampaui batas antara sinema, dokumenter, dan performans, secara konsisten menyertakan soal-soal sejarah dan memori. Karya-karyanya telah dipresentasikan di acara-acara kesenian internasional, seperti Jeu de Paume, Paris; CAPC mus\u00e9e d\u2019art contemporain de Bordeaux; Lyon Biennale 2015; Asian Art Biennial 2015, Taiwan; Fukuoka Asian Art\u00a0Triennial 2014; dan Singapore Biennale 2013. She mendirikan Hanoi DocLab pada tahun 2009.<\/p>\n

–<\/p>\n

Nguyen Trinh Thi<\/em><\/strong> is a Hanoi-based moving image artist.\u00a0Her diverse practice, transcending\u00a0the boundaries between cinema,\u00a0documentary and performance,\u00a0has consistently engaged with memory and history.\u00a0Her works have been shown at international festivals and art exhibitions including Jeu de Paume, Paris; CAPC mus\u00e9e d\u2019art contemporain de Bordeaux; the Lyon Biennale 2015; Asian Art Biennial 2015, Taiwan; Fukuoka Asian Art\u00a0Triennial 2014; and Singapore Biennale 2013. She founded Hanoi DocLab in 2009.\u00a0<\/em><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Panel IV” color=”custom” border_width=”2″ accent_color=”#36617a”][mk_fancy_title font_family=”none” align=”center”]Sinema sebagai Cultural Interface: Konteks Asia
\n<\/strong>Cinema as a Cultural Interface: Asian Context<\/em>[\/mk_fancy_title][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]\n

\"\"

Akbar Yumni<\/p><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text]Akbar Yumni <\/strong>(Jakarta, 1975) adalah kritikus, kurator filem, dan anggota Forum Lenteng, bertanggung jawab untuk program Jurnal Footage<\/em> (www.jurnalfootage.net)<\/a>. Sedang menempuh pendidikan Filsafat di Sekolah Tinggi Filsafat Driyarkara, Jakarta. Ia juga bekerja sebagai peneliti lepas di Dewan Kesenian Jakarta.<\/p>\n

–<\/p>\n

Akbar Yumni <\/em><\/strong>(Jakarta, 1975) is a film critic and curator, and a member of Forum Lenteng, in charge of Jurnal Footage program (<\/em>www.jurnalfootage.net)<\/em><\/a>. He studies Philosophy at Sekolah Tinggi Filsafat Driyarkara, Jakarta. He is also a freelance researcher at Jakarta Arts Council.<\/em><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]\n

\"\"

Gaston Soehadi<\/p><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text]Gaston Soehadi<\/strong> merupakan akademisi dengan gelar doktor di bidang studi filem dari Kajian Media, Film dan Jurnalistik di Univeritas Monash, Australia. Tahun 1995, ia memutuskan untuk pindah ke Australia dan menggali ketertarikannya dalam budaya, media, dan studi linguistik dan tahun 1997, Gaston mendapatkan gelar Masternya dalam studi linguistik terapan di Univeritas New South Wales. Tahun 2015, ia mendapatkan gelar doktoralnya di Univeritas Monash, Australia. Ia juga merupakan dosen studi filem, media, linguistik, dan budaya di Univeritas Petra Christian, Surabaya. Ia menunjukan ketertarikannya dengan melakukan riset yang berkaitan dengan filem-filem Asia, seperti Asia Timur dan Indonesia, khususnya karya-karya sutradara kawakan Indonesia, seperti Teguh Karya, Asrul Sani, dan Usmar Ismail. Selama beberapa tahun, ia mendampingi Perhimpunan Pelajar Indonesia-Australia (PPIA) untuk menggelar Festival Film Indonesia (IFF) di Melbourne dan tahun 2017 merupakan keempat kalinya menjadi juri untuk kategori kompetisi film pendek di IFF. Ia juga merupakan salah satu penggagas ReelOzInd Short Film Competition & Festival yang mengatur tur pemutaran festival di Jakarta, Bandung, Yogyakarta, Malang, Surabaya, Denpasar, dan Probolinggo, atau disebut \u201cBioskop Keliling\u201d.<\/p>\n

–<\/p>\n

Gaston Soehadi<\/em><\/strong> is an academician with a doctoral degree in film study from Media, Film and Journalism Study at Monash University, Australia. In 1995, he decided to move to Australia and explored his interest in culture, media, and linguistic studiy and in 1997, Gaston earned his Master’s degree in applied linguistics studiy at New South Wales University. In 2015, he earned his doctor at Monash University, Australia. He is also a lecturer of film, media, linguistics and culture studies at Petra Christian University, Surabaya. He showed his interest in doing research related to Asian films, such as East Asia and Indonesia, especially the works of Indonesian veteran directors such as Teguh Karya, Asrul Sani and Usmar Ismail. For several years, he accompanied the Indonesian-Australian Student Association (PPIA) to hold the Indonesian Film Festival (IFF) in Melbourne and 2017 was the fourth times to become a judge for the short film competition category at the IFF. He is also one of the initiators of the ReelOzInd Short Film Competition & Festival which organizes festival screening tours in Jakarta, Bandung, Yogyakarta, Malang, Surabaya, Denpasar and Probolinggo, or called as “Mobile Cinemas”.<\/em><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]\n

\"\"

Gutierrez \u2018Teng\u2019 Mangansakan II<\/p><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text]Gutierrez \u2018Teng\u2019 Mangansakan II<\/strong> adalah sutradara, produser filem, dan penulis. Ia lahir di Cotabato dan dibesarkan di Maguindanao sebagai keluarga politisi. Kakeknya, Datu Udtug Matalam, merupakan pengagas Gerakan Kemerdekaan Muslim di Mindanao (MIM) pada tahun 1968. Dibesarkan dari keluarga politisi dan lingkungan di Maguindanao yang merupakan tempat para pengungsi perang, karya-karya filemnya terpengaruhi dari situasi tersebut. Isu yang ia dalami sejak pertama kali membuat filem dan serius menekuni penulisan, yaitu mendalami isu pengungsi. Ia dikenal dengan beberapa karya filemnya, seperti The Bridal Quarter\/Limbunan<\/em> (2010), Qiyamah<\/em> (2012), Obscured Histories and Silent Longings of Daguluan’s Children<\/em> (2012), dan Forbiden Memories<\/em> (2016). Filem dokumenter pertamanya, House Under the Crescent Moon<\/em> (2001), memenangkan Gawad CCP (Cultural Center of the Philippines) untuk filem alternatif tahun 2001. Pada tahun 2010, film The Bridal Quarter\/Limbunan<\/em> (2010) pernah diputar dalam penutupan 67th International Critics\u2019 Week of the Venice International Film Festival dan menjadi finalis Cinemalaya Independent Film Festival. Pada tahun 2011, filem ini dinominasikan untuk Best Picture, Best Director, Best Screenplay, Best Cinematography, Best Production Design, dan Best Sound di Gawad Urian Awards. Karya filem lainnya, yaitu Forbiden Memories<\/em> (2016) pernah menjadi filem dokumenter terbaik di Cinema One Originals Film Festival, festival filem independen di Filipina. Ia juga mengikuti residensi di University of Iowa dalam program bergengsi, yaitu International Writing Program tahun 2008.<\/p>\n

–<\/p>\n

Gutierrez ‘Teng’ Mangansakan II<\/em><\/strong> is a director, film producer, and writer. He was born in Cotabato and raised in Maguindanao as a family of politicians. His grandfather, Datu Udtug Matalam, is the initiator of Muslim Mindanao Independence Movement (MIM) in 1968. Having grown in a family of politicians and the environment in Maguindanao which is the place for war refugees, his film works were affected by the situation. He has been delved into the issue of refugee since the first time he started to make films and writings. He is known for his numerous films, such as <\/em>The Bridal Quarter\/ Limbunan (2010), <\/em>Qiyama (2012), <\/em>Obscured Histories and Silent Longings of Daguluan’s Children (2012), and <\/em>Forbiden Memories (2016). His first documentary film, <\/em>House Under the Crescent Moon (2001), won the Gawad CCP (Cultural Center of the Philippines) for alternative films in 2001. In 2010, <\/em>The Bridal Quarter\/ Limbunan (2010) was screened in the closing of 67th International Critics’ Week of the Venice International Film Festival and became the finalist of the Cinemalaya Independent Film Festival. In 2011, this film was nominated for Best Picture, Best Director, Best Screenplay, Best Cinematography, Best Production Design and Best Sound in Gawad Urian Awards. Another film, <\/em>Forbiden Memories (2016) was the best documentary film in Cinema One Originals Film Festival, an independent film festival in Philippines. He also attended a residency at the University of Iowa in a prestigious program, the International Writing Program in 2008.<\/em><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Panel V” color=”custom” border_width=”2″ accent_color=”#36617a”][mk_fancy_title font_family=”none” align=”center”]\u201cFilem yang Termediasi\u201d: [Kon]teks[tur] dan Renungannya Kemudian
\n<\/strong>\u201cMediated Film\u201d: [Con]text[ure] and Afterthought<\/em>[\/mk_fancy_title][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]\n

\"\"

Mahardika Yudha<\/p><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text]Mahardika Yudha<\/strong> (lahir di Jakarta, 1981) adalah seniman, kurator, peneliti seni, dan salah satu pendiri Forum Lenteng. Kini ia adalah Direktur OK. Video \u2013 Indonesia Media Arts Festival. Karya-karyanya telah sering dipresentasikan di berbagai perhelatan nasional dan internasional.<\/p>\n

–<\/p>\n

Mahardika Yudha <\/em><\/strong>(born in Jakarta, 1981) is an artist, curator, art researcher, and one of the founder of Forum Lenteng. He is also the Director of OK. Video \u2013 Indonesia Media Arts Festival. His works has been presented in several art events nationally and internationally.<\/em>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]<\/span><\/p>\n

\"\"

Zhang Wenjie<\/p><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text]Zhang Wenjie<\/strong> adalah kurator filem. Sejak tahun 2003 sampai 2005, ia memimpin program filem The Substation Moving Images, ti mana ia memprakarsai First Take dan Singapore Short Cuts, dua dari serial filem terlaris dan terpanjang di Singapura. Dari tahun 2005 sampai 2008 dan 2009 sampai 2014, Wenjie memimpin National Museum of Singapore Cinematheque, di mana dia memprogram dan mengatur retrospektif besar seperti In His Time<\/em>, sebuah filem oleh Edward Yang; dan Majulah!<\/em>, sebuah filem dari Zubir Said. Ia juga mempelopori jurnal filem Cinematheque Quarterly. Pada tahun 2009, dia adalah co-director<\/em> ke-22 SGIFF; dan dari tahun 2010 sampai 2012 dia adalah bagian dari tim yang memimpin proyek restorasi filem Usmar Ismail, Lewat Djam Malam<\/em> (1955), yang kemudian ditayangkan di Festival Film Cannes ke-65. Pada tahun 2013, ia menyelenggarakan Film Restoration School Asia yang pertama di Singapura, bekerja sama dengan Martin Scorsese\u2019s World Cinema Foundation, Cineteca di Bologna, dan L’Immagine Ritrovata. Saat ini dia adalah Direktur Singapore International Film Festival.<\/p>\n

–<\/p>\n

Zhang Wenjie<\/em><\/strong> is a film programmer. From 2003 to 2005, he headed The Substation Moving Images film program where he initiated First Take and Singapore Short Cuts, two of the longest running and most established film series in Singapore. From 2005 to 2008 and 2009 to 2014, he led the National Museum of Singapore Cinematheque, where he programmed and organized major retrospectives such as <\/em>In His Time, The Films of Edward Yang<\/em>;<\/em> and <\/em>Majulah! The Film Music of Zubir Said and also spearheaded the Cinematheque Quarterly film journal. In 2009, he was co-director of the 22nd installment of SGIFF and from 2010 to 2012, he was part of the project team that led the restoration of Usmar Ismail\u2019s 1954 classic <\/em>After the Curfew, which premiered at the 65th Cannes Film Festival. In 2013, he organized the first Film Restoration School Asia in Singapore in collaboration with Martin Scorsese\u2019s World Cinema Foundation, Cineteca di Bologna and L\u2019Immagine Ritrovata. He is currently Festival Director of the Singapore International Film Festival.<\/em><\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/3″][vc_column_text]\n

\"\"

Andres Denegri<\/p><\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text]ANDR\u00c9S DENEGRI<\/strong> (Buenos Aires, 1975) adalah seniman visual yang umumnya berkarya di ranah filem, video, fotografi dan instalasi. Karyanya telah ditampilkan di berbagai pameran dan festival, di mana dia telah mendapatkan pengakuan yang signifikan: Grand Prix di Sal\u00f3n Nacional de Artes Visuales (Buenos Aires, 2015), First Prize dari Ita\u00fa Cultural 2013 (Buenos Aires, 2013), Medali Emas untuk the Best Experimental Film di Belgrade Documentary dan Festival Film Pendek (Serbia, 2012). Dia adalah co-director Bienal de la Imagen en Movimiento dan kurator program film dan video di Museum of Modern Art of Buenos Aires. Dia juga profesor di Universidad Nacional de Tres de Febrero dan Universidad del Cine. Denegri saat ini tinggal dan bekerja di Buenos Aires.<\/p>\n

ANDR\u00c9S DENEGRI\u00a0<\/strong>(Buenos Aires, 1975) is a visual artist who works mostly on film, video, photography and installations. His work has been featured at numerous exhibitions and festivals, where he has achieved significant recognitions: Grand Prix at the Sal\u00f3n Nacional de Artes Visuales (Buenos Aires, 2015), First Prize of Ita\u00fa Cultural 2013 (Buenos Aires, 2013), Golden Medal for the Best Experimental Film at Belgrade Documentary and Short Film Festival (Serbia, 2012). He is co-director of the Bienal de la Imagen en Movimiento and curator of the film and video program at the Museum of Modern Art of Buenos Aires. He is professor at the Universidad Nacional de Tres de Febrero and Universidad del Cine. Denegri currently lives and works in Buenos Aires.<\/span>[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Pada Forum Festival 2017, ARKIPEL Penal Colony \u2013 5th International Documentary and Experimental Film Festival menghadirkan Fang-Tze Hsu sebagai Pembicara Kunci. 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