{"id":7187,"date":"2017-08-22T10:00:31","date_gmt":"2017-08-22T03:00:31","guid":{"rendered":"http:\/\/arkipel.org\/?p=7187"},"modified":"2017-08-23T15:07:21","modified_gmt":"2017-08-23T08:07:21","slug":"empathizing-bucket-riders","status":"publish","type":"post","link":"https:\/\/arkipel.org\/empathizing-bucket-riders\/","title":{"rendered":"Empathizing with The Bucket Riders"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503474510-1-52″][vc_column_text title=”Berempati dengan Para Penunggang Ember: Catatan Program Kuratorial \u201cExperience of the Bucket Riders\u201d”]Kegelisahan, kemurungan, kebencian, segala emosi negatif senantiasa menyesaki diri dalam setiap lini kehidupan. Koloni pidana telah menjadi momok yang mewarnai kehidupan ini dengan tragedi. Setiap harinya manusia seakan diseret ke dalam pusaran derita tanpa akhir tanpa mendapat kesempatan untuk melarikan diri. Dalam kondisi tersebut, banyak orang yang menyadari keputusasaannya kemudian melakukan hal-hal tak terduga.<\/p>\n
\"\"

Suasana sesaat sebelum pemutaran.<\/p><\/div>\n

Dalam cerpen The Bucket Rider<\/em>, Franz Kafka pernah menunjukkan bagaimana tindakan menunggangi ember dapat menjadi bentuk perlawanan terhadap kekejian koloni pidana. Gestur menunggangi ember mungkin terkesan tidak bermakna dan tidak akan menciptakan transformasi atas kondisi ini. Namun, gestur tersebut sudah cukup untuk melepaskan diri dari kehinaan sekaligus mengkritik rezim yang memungkinkan hal tersebut terjadi. Inilah jalan perlawanan yang dipilih oleh kaum seniman. Sebuah perlawanan yang mungkin terkesan tidak aktif dan tidak bermakna, namun sangat kontributif dalam upaya perlawanan.<\/p>\n

Bertempat di studio pemutaran Kineforum, Zbyn\u011bk Baladr\u00e1n, pada Senin, 21 Agustus 2017, mencoba mengajak kita untuk mengilhami \u201cPengalaman-Pengalaman Para Penunggang Ember\u201d di Eropa Tengah. Lima filem yang diputar pada malam itu: Centaur <\/em>(1975), Green Plateus I <\/em>(2004), We Are Not Living in This Space, But This Space Lives in Us <\/em>(2014), Three Curtains <\/em>(2014), dan Reliable Relationships<\/em> (2014), merupakan filem-filem yang mengisahkan perlawanan seorang sineas terhadap ketidakadilan melalui cara-cara yang nyeleneh.<\/p>\n

Centaur<\/em> karya Tam\u00e1s Szentj\u00f3by merupakan parodi atas praktik dehumanisasi di Uni Soviet. Di dalam sebuah negara di mana manusia tereduksi menjadi sekadar mur dan baut dalam skema pembangunan, Szentj\u00f3by justru menghadirkan kondisi alternatif di mana para buruh yang seharusnya menjadi mesin tanpa akal justru mampu membicarakan filosofi Karl Marx secara kasual sambil mengkritik negaranya. Kontras antara imej dan suara yang digambarkan dalam filem tersebut menciptakan atmosfer jenaka yang membuat 35 penonton di studio Kineforum tertawa dan menggeleng-gelengkan kepala.<\/p>\n

Centaur <\/em>sendiri sempat dilarang peredarannya oleh pemerintahan Uni Soviet karena dianggap terlalu subversif. Sungguh ironis ketika negara yang mengagung-agungkan Marxisme sebagai landasan ideologisnya justru takut jika warganya sanggup membicarakan pemikiran tersebut secara kritis. Hal ini menunjukkan bagaimana Szentj\u00f3by mampu mengguncang sebuah tatanan hanya dengan \u201cmenunggangi ember\u201d\u2014membuat filem.<\/p>\n

\"\"

Zbyn\u011bk Baladr\u00e1n menjelaskan ide kuratorial programnya.<\/p><\/div>\n

Sementara itu, Green Plateus I <\/em>karya Milena Dopitov\u00e1 menampilkan sosok dua perempuan kembar yang menikmati kebersamaan mereka meskipun waktu terus menggerus kondisi fisik mereka. Ada sebuah keindahan dan kehangatan yang saya rasakan dari gambar-gambar yang disajikan Dopitov\u00e1 dalam filem ini. Meskipun hanya berdurasi singkat (3,5 menit), filem ini mampu menggugah kesadaran saya mengenai penderitaan dan penghakiman masyarakat pada perempuan yang menua. Secara tidak adil, perempuan yang menua cenderung dinilai \u2018tidak cantik\u2019 lagi dan kemudian dilupakan. Filem ini menunjukkan bahwa terdapat keindahan di setiap diri manusia dan bukan hak masyarakat untuk menghakimi berdasarkan sebuah standar yang tidak masuk akal.<\/p>\n

We Are Not Living in This Space, But This Space Lives in Us<\/em> karya Jana Kapelov\u00e1 menggambarkan percakapan antara tiga orang pemuda mengenai kondisi praktik seni hari ini. Suasana jenaka yang ditampilkan dalam filem ini menyiratkan bahwa sang sutradara berusaha memparodikan acara-acara sitcom<\/em> di televisi yang cenderung melegitimasi ketidakadilan dalam koloni pidana. Di bagian akhir, salah satu tokoh dalam filem ini menyatakan bahwa ia baru menyadari bahwa kita tidak hidup di ruangan ini, namun ruangan ini yang hidup dalam kita. Saya menangkap maksud dari kata-kata ini sebagai pernyataan bahwa ketidakadilan yang terjadi di dunia saat ini merupakan hasil dari konstruksi dan kesepakatan kita sendiri.<\/p>\n

The Three Curtains<\/em> karya Anna Dau\u010d\u00edkov\u00e1 mendokumentasikan cerita-cerita yang terjadi seputar daerah perbatasan di Uni Soviet. Melalui narasi dan foto-foto di masa silam, sang sutradara berusaha menyuarakan protesnya terhadap segala ketidakadilan yang diakibatkan oleh absennya kebebasan berpindah. Perpindahan ilegal kemudian menjadi teknologi yang digunakan oleh orang-orang di masa itu untuk dapat bertahan hidup. Saya melihat bahwa filem ini berusaha menyatakan bahwa tidak ada yang salah dari perpindahan secara ilegal. Pada dasarnya, ilegal dan legal hanyalah istilah yang diciptakan negara untuk mempertahankan kekuasaannya. Adalah sebuah hak bagi setiap manusia untuk dapat pergi ke mana pun yang mereka inginkan dan negara tidak memiliki hak untuk membatasi apalagi melarang hal tersebut.<\/p>\n

Reliable Relationships <\/em>karya Barbora Kleinhamplov\u00e1 mencoba mengolok-olok tren pelatihan Neuro-Linguistic Programming (NLP) di Republik Ceko. Partisipan yang mengikuti pelatihan tersebut terbuai oleh janji palsu akan sebuah kekuatan psikologis yang dapat ia gunakan untuk menguasai orang lain. Sang pelatih di dalam filem tersebut digambarkan mampu mempengaruhi kondisi mental seseorang dan membuat mereka tidak berdaya hanya dengan bertatap mata. Pada kenyataannya, kekuatan psikologis seperti itu tidak pernah ada. Orang-orang yang tertidur setelah bertatap mata dengan sang pelatih adalah aktor yang telah disiapkan sebelumnya. Dapat dikatakan bahwa filem ini mencoba mengkritik hasrat manusia yang senantiasa ingin berkuasa atas orang-orang yang lebih lemah, sampai-sampai bersedia mengikuti pelatihan yang tidak jelas.<\/p>\n

\"\"

Saya turut memberikan pertanyaan kepada Zbyn\u011bk Baladr\u00e1n dalam sesi diskusi usai pemutaran filem-filem programnya.<\/p><\/div>\n

Pengalaman-pengalaman para penunggang ember di filem-filem yang disajikan oleh Zbyn\u011bk Baladr\u00e1n membuat saya sadar bahwa hal-hal yang terkesan tak bermakna sekalipun ternyata memiliki signifikansi yang luar biasa bagi terciptanya perubahan. Sayangnya, para penunggang ember cenderung tidak mendapatkan cukup apresiasi. Menurut Baladr\u00e1n, sutradara-sutradara yang membuat filem-filem nyeleneh <\/em>seperti di atas cenderung kesulitan untuk memenuhi kebutuhan dasarnya karena karya mereka umumnya kesulitan memperoleh pendapatan. Hal ini memperlihatkan bagaimana membebaskan diri dari koloni pidana merupakan sesuatu yang sangat sulit\u2014jika bukan mustahil. Pun demikian, bukan berarti kita tidak dapat berbuat apa-apa untuk mengatasi keadaan ini. Segala cara harus dilakukan untuk melawan koloni pidana, termasuk dengan menunggangi ember. ***[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503474510-2-92″][vc_column_text title=”Empathizing with The Bucket Riders: Notes on Curatorial Program \u201cExperience of the Bucket Riders\u201d”]Anxiety, depression, hatred, all kind of negative emotion always suffocates this body in every seconds of life. The penal colony has become a specter that colored this life with tragedy. Every day, as if dragged to an infinite abyss, mankind find no way to escape. In that kind of condition, many who realized their desperation begins to do the unthinkable.<\/p>\n

\"\"

A moment just before the screening started.<\/p><\/div>\n

In the short story, The Bucket Rider<\/em>, Franz Kafka once showed how an act of riding a bucket can be considered as a resistance to the atrocity of penal colony. The gesture of riding a bucket might seems meaningless and will not transform this condition. Yet that gesture is enough to escape from humiliation as well as criticizing the regime who allowed it to happen. This is the way of artist to resist. A resistance that might seems meaningless and passive, but very contributive in the effort nonetheless.<\/p>\n

Located in the screening studio Kineforum, Zbyn\u011bk Baladr\u00e1n, on Monday, August 21st<\/sup>, 2017, tries to invite us to empathize with the \u201cExperience of the Bucket Riders\u201d in Middle Europe. The five films screened on that night: Centaur <\/em>(1975), Green Plateus I <\/em>(2004), We Are Not Living in This Space, But This Space Lives in Us <\/em>(2014), Three Curtains <\/em>(2014), and Reliable Relationships<\/em> (2014), are films that tell the resistance of filmmaker to injustice in a bizarre way.<\/p>\n

Centaur<\/em> by Tam\u00e1s Szentj\u00f3by is a parody of dehumanizing practices in Soviet Union. In a country where human is reduced to merely nuts and bolts in development scheme, Szentj\u00f3by instead offered an alternative condition where the labors who are supposed to be mindless machine actually talk casually about Karl Marx\u2019 philosophy while criticizing their own country. The contrast between the image and the sound portrayed in that film creates a comical atmosphere which makes the 35 audiences in studio Kineforum laughs and shake their head.<\/p>\n

Centaur <\/em>itself was banned by Soviet Union because deemed to be very subversive. It\u2019s indeed ironic that a country who glorifies Marxism as their ideological foundation actually afraid if their citizen can talk about it critically. This shows how Szentj\u00f3by can shake an order simply by riding a bucket \u2013 making a film.<\/p>\n

\"\"

Zbyn\u011bk Baladr\u00e1n was explaining his curatorial view to the audience.<\/p><\/div>\n

Meanwhile, Green Plateus I<\/em> by Milena Dopitov\u00e1 depicts two twin women who enjoy their togetherness even though time continues to erode their physical condition. There are beauty and warmness that I feel from the pictures presented by Dopitov\u00e1 in this film. Although the movie was very short (3.5 minutes), it managed to evoke my awareness about the suffering and the people\u2019s judgment to aging women. It is very unfair when aging women tends to be judged \u2018not beautiful\u2019 anymore and then forgotten. This film shows that there is beauty in every human and people don\u2019t have right to judge it based on an unreasonable standard.<\/p>\n

We Are Not Living in This Space, But This Space Lives in Us <\/em>by Jana Kapelov\u00e1 portrays a dialogue between three teenagers about contemporary practices of art. The humorous tone prevalent in this film implies that the director tries to parody TV sitcom which tends to legitimize the injustice in penal colony. At the end of the film, one of the character said that she just realized that we are not living in this space, but this space lives in us. I believe what she mean is that the injustice in the world today is a result of our own construction and agreement.<\/p>\n

The Three Curtains <\/em>by Anna Dau\u010d\u00edkov\u00e1 documented tales around border area in Soviet Union. Through narration and old photos, the director tries to voice her protest to every form of injustice caused by the absence of freedom of movement. Illegal movement then became a technology used by people in that era in order to survive. I see that this film tries to say that there is nothing wrong from illegal movement. After all, illegal and legal are terms merely created to ensure state\u2019s power. It is a right for every human to be able to go whenever they want and the country have no right to limit it let alone prohibit it.<\/p>\n

Reliable Relationships <\/em>by Barbora Kleinhamplov\u00e1 tries to make fun of Neuro-Linguistic Programming (NLP) training in Czech Republic. Participants in that training were lured by fake promise of a psychological power that can be used to overpower others. The trainer in that movie is portrayed to have an ability to influence people\u2019s mental condition and make them helpless simply by looking eye to eye. In reality, such psychological power never exists. The people fell asleep after looking eye to eye with the trainer is no other than an actor who have been prepared beforehand. It can be said that this film tries to criticize people\u2019s desire to have power over their weaker counterpart, even go so far as taking ridiculous training.<\/p>\n

\"\"

I also asked a question to Zbyn\u011bk Baladr\u00e1n about the films he curated.<\/p><\/div>\n

The experiences of Bucket Riders in the films presented by Zbyn\u011bk Baladr\u00e1n makes me realize that seemingly meaningless things actually have outstanding significance to create change. Unfortunately, these bucket riders tend to get few appreciation. According to Baladr\u00e1n, the directors who make bizarre movie like this usually having a hard time generating income. This shows how escaping from penal colony is a very hard thing to do \u2013 if not impossible. Even then, doesn\u2019t mean that we can do nothing to deal with this condition. Any means must be taken to resist the penal colony, including riding a bucket. ***[\/vc_column_text][\/vc_tab][\/vc_tabs][vc_gallery type=”flexslider_slide” interval=”3″ images=”7188,7194,7193,7192,7191,7190,7189″ img_size=”full” title=”Gallery”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

The experiences of Bucket Riders in the films presented by Zbyn\u011bk Baladr\u00e1n makes me realize that seemingly meaningless things actually have outstanding significance to create change. 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