{"id":7309,"date":"2017-08-24T15:00:53","date_gmt":"2017-08-24T08:00:53","guid":{"rendered":"http:\/\/arkipel.org\/?p=7309"},"modified":"2017-08-27T21:58:44","modified_gmt":"2017-08-27T14:58:44","slug":"three-parts-penal-colony-context-latin-america","status":"publish","type":"post","link":"https:\/\/arkipel.org\/three-parts-penal-colony-context-latin-america\/","title":{"rendered":"Three Parts for “Penal Colony” in the Context of Latin America"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503843652-1-15″][vc_column_text title=”Tiga Pembagian untuk “Penal Colony“ dalam Konteks Amerika Latin”]Rabu, 23 Agustus 2017, sesi pemutaran filem dengan tajuk kuratorial \u201cAmerika Latin: Penal Colony\u201d diselenggarakan di Kineforum, Taman Ismail Marzuki pada pukul 19:00. Sebanyak 27 pengunjung datang dan meramaikan rangkaian sesi pemutaran filem malam itu. Acara dibuka dengan kata sambutan dari Pingkan Polla, salah satu panitia penyelenggara festival, kemudian dilanjutkan oleh Andr\u00e9s Denegri selaku kurator program. Sebelum sesi pemutaran dimulai, Andr\u00e9s Denergi mencoba untuk menceritakan secara ringkasan gambaran dari rangkaian filem yang akan diputar. Ia memaparkan bahwan filem-filem yang akan diputar merupakan filem sederhana yang merefleksikan estetika dari Amerika Latin sendiri dan beberapa filem tersebut adalah hasil karya dari memories exercises<\/em> yang dituangkan ke dalam beberapa filem pendek.<\/p>\n
\"\"

Andr\u00e9s Denegri.<\/p><\/div>\n

Terkait dengan tema \u201cPenal Colony\u201d itu sendiri, filem-filem yang dihimpun pada sesi pemutaran filem kali ini mencoba menarik kembali ingatan tentang masa kegelapan dari kediktaktoran militer-sipil yang dialami di Amerika Latin. Dengan berlandasan dari konsep cerita pendek yang dibuat oleh Franz Kafka, yakni In The Penal Colony<\/em>, program pemutaran filem tersebut membingkai persoalan dan citra-citra yang berkaitan dengan nilai-nilai penindasan dan kebencian yang membangun ketidakstabilan masyarakat di Amerika Latin.<\/p>\n

Pada sesi pemutaran filem itu, terdapat 12 filem yang telah dihimpun dan disusun dalam tiga bagian. Setiap bagian terdiri dari 4 filem pendek; di setiap filem dan bagian bertujuan untuk merepresentasikan proses dari kebencian yang terrefleksi dari setiap karya di program ini. Yang pertama adalah \u201cPendidikan, Identitas dan Perilaku\u201d yang mengacu pada proses pembentukan karakter kebencian yang muncul sejak dini dengan serangkaian nilai-nilai yang dibentuk dilingkungannya. Filem pertama yang diputarkan adalah filem berjudul VII Pulgadas <\/em>(atau VII Inches<\/em>, 2013) karya Cristian Alarcon Ismodes. Menurut keterangan di dalam katalog festival, filem yang berdurasi 4 menit itu bercerita tentang sebuah proses pembentukan karakter anak yang dibangun melalui nyanyian rakyat pengantar tidur yang secara berulang diajarkan di sekolah. Melalui nyanyian tersebut, pesan terselubung disampaikan. Melalui pendekatan imajinasi seorang anak yang dibangun pada penyuntingan militerisme endemis dan katekismus untuk tujuan kekuasaan.<\/p>\n

Filem kedua adalah Coming Out<\/em> (2015) karya Florencia Aliberti yang berisi sekumpulan footage<\/em>–footage<\/em> anak muda yang menyampaikan pengakuan tentang ketertarikan seksualitas yang mereka alami. Dengan cara mengeksplorasi pengalaman pribadi secara online<\/em>, batasan antara publik dan pribadi pun mengabur. Filem ini dirangkai melalui penemuan footage-footage<\/em> di internet dan dihimpun hingga membentuk narasi baru yang merepresentasikan keintiman diri secara online<\/em>. Berfokus pada \u201cnarasi diri\u201d, video-video yang kemudian seakan hadir seperti rekaman \u201cpengakuan dosa\u201d ini menggambarkan dinamika pengulangan dari cara kita merepresentasikan diri sendiri.<\/p>\n

Filem ketiga adalah Producto Nacional<\/em> (atau National Product<\/em>, 2014) karya Maria Jose Ayarza. Filem ini mencoba mengeksplorasi tata cara pengekspresian karakteristik perempuan melalui iklan-iklan yang disiarkan di TV Cile. Pendekatan iklan-iklan ini ditujukan untuk mengajukan kebutuhan emosional maupun material, yang membuktikan adanya referensi ironis terhadap pembangunan karakteristik terhadap elemen identitas asing.<\/p>\n

Filem keempat adalah Subversion<\/em> (2016) karya Herman Khourian. Filem berdurasi singkat ini menyajikan gambar yang dibentuk dari potongan-potonga pidato Videla tentang upaya pemberontakan dalam merobohkan struktur kekuasaan.<\/p>\n

Kemudian, pembagian yang kedua adalah \u201cKekerasan yang Diotoritaskan\u201d. Menurut keterangan di katalog, bagian kedua ini merepresentasikan lanskap yang didefinisikan oleh kejahatan yang tak terkendali dengan tujuan menjaga status quo dan melindungi kepentingan orang-orang yang memiliki kekuasaan. Filem pertama yang diputar berjudul Impresiones Para Una Maquina De Luz Y Sonido<\/em> (atau Impressions for A Light and Sound Machine<\/em>, 2015) karya Colectivo Los Ingravidos. Filem ini menceritakan tentang penyampaian kata-kata pidato yang menyakitkan berdasarkan impresi permanen dalam ingatan kolektif. Filem ini melakukan penyuntingan sebuah seluloid yang dicabik hingga ke titik hilangnya.<\/p>\n

Filem kedua adalah filem Abecedario B<\/em> \/ ABC<\/em> (2014) karya Colectivo Los Ingravidos. Hampir mirip dengan konsep Impressions for A Light and Sound Machine<\/em>, filem ABC mencoba untuk mengambil pengalaman sinematik lewat suatu eksekusi filemis dari perang sipil Meksiko. Pola penyuntingan juga dilakukan melalui potongan gambar di bingkaian seluloid yang berlubang, seakan ditembus oleh peluru-peluru di perang sipil Meksiko.<\/p>\n

Filem ketiga adalah Paisaje Para Una Persona<\/em> (atau Landscape for A Person<\/em>, 2014) karya Florencia Levy. Filem ini mengambil lanskap cerita mengenai konflik transit atau deportasi. Materi penyuntingan filem ini mengambil hasil wawancara audio tentang korban konflik dengan visualisasi dari Google Street View. Filem ini melatarbelakangi sebuah kisah dengan membangun lapisan makna yang terefleksi antara gambar dan ceritanya<\/p>\n

Filem keempat adalah Nores (Sin Senalar)<\/em> (atau Misters (Without Blame)<\/em>, 2016) karya Annalisa Quagliata. Filem berdurasi 3 menit ini mencoba menyorotoi kasus pembunuhan seorang reporter, Ruben Espinosa. Filem ini menggambarkan konteks kekerasan dan ketidakadilan yang semakin meningkat di negara bagian Veracruz. Melalui penyuntingan filem hitam-putih, filem ini seakan memberikan pengalaman sinema di era lain.<\/p>\n

Kemudian sesi filem dilanjutkan pada bagian yang ketiga, yakni \u201cKontrol dan Kepatuhan\u201d. Pada bagaian ini, filem-filem yang dihimpun merefleksikan bagaimana penguasaan dilakukan dengan dedikasi dan kemurkaan individu.<\/p>\n

Filem pertama yang diputar adalah filem Personas Que No Conozco. Lugares Que No Recuerdo<\/em> (atau Unknown People. Forgotten Places<\/em>, 2016) karya Martin Oesterheld. Filem yang berdurasi 4 menit ini menceritakan kembali perjalanan imajiner sang sutradara tentang kesaksiannya di umur 4 tahun yang sudah ikut serta dalam perjuangan bersenjata. Kesaksian para aktivis revolusioner dalam sebuah wawancara pun juga dihadirkan. Filem kedua adalah Familiar<\/em> (atau A Relative<\/em>, 2014) karya Paz Encina. Filem ini menceritakan sistem kediktaktoran yang membunuh seorang gadis berusia 12 tahun, bernama Apolonia Flores. Melalui berkas-berkas yang disunting ke dalam filem, karya ini menunjukkan sistem represif sejarah kediktatoran. Filem ketiga adalah Cuatro Recuerdos<\/em> (atau Four Memories<\/em>, 2016) karya Gustavo Fontan. Filem pendek berduari 4 menit ini merefleksikan kekerasan militer yang sudah tidak dapat lagi disembunyikan.<\/p>\n

Filem terakhir yang menjadi penghujung serangkaian sesi pemutaran filem malam itu adalah De Lo De Adentro<\/em> (atau From Within<\/em>, 2016) karya Ana Gallardo. Filem yang juga hanya berdurasi 4 menit ini menggambarkan keresahan seorang individu tentang pengasingan internal. Dengan gaya penyuntingan berdasarkan teks narasi yang sederhana, filem ini mencoba untuk meringkas dan memperlihatkan adegan keheningan dan penolakan terhadap kenyataan bahwa kita semua hidup.<\/p>\n

\"\"

Fang-Tze Hsu, salah satu Juri ARKIPEL Penal Colony, turut memberikan pertanyaan di sesi diskusi usai pemutaran.<\/p><\/div>\n

Setelah ke dua belas filem diputar, sesi tanya jawab pun dilakukan. Salah satu pengunjung bertanya tentang bagaimana caranya penonton dapat memahami filem yang tidak memiliki translasi dan bagaimana respon pemerintah terhadap filem-filem dokumenter seperti yang dikurasi oleh Andr\u00e9s Denegri. Andr\u00e9s menjawab bahwa bahasa, dengan melihat relevansi antar scene<\/em>, sekiranya tanpa translasi, hal itu akan tetap menyiratkan alur yang dapat dipahami oleh penonton. Walaupun filem dibawakan dengan bahasa lain, namun dengan memperhatikan kesinambungan antar scene<\/em>, pengunjung dapat merangkai cerita dengan caranya sendiri, menurut versi imajinasinya sendiri. Sedangkan terkait pertanyaan kedua, Andr\u00e9s Denergi menjawab bahwa dokumen-dokumen yang difilemkan bersifat terbuka sehingga dari pihak pemerintah-pun tidak ada masalah terhadap penggarapan filem-filem tersebut. ***[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503843652-2-84″][vc_column_text title=”Three Parts for “Penal Colony“ in the Context of Latin America”]Wednesday, August 23, 2017, the screening of \u201cLatin America: Penal Colony\u201d was held in Kineforum, Taman Ismail Marzuki at 19:00. About 27 audiences came and enliven the screening session at that night. The screening was opened by a brief greeting from Pingkan Polla, one of the festival organizers, and then it was continued by Andr\u00e9s Denegri as the program curator. Before the screening session was started, Andr\u00e9s Denegri tried to slightly illustrate the whole series of films which will be screened. He explained that they were simple films reflecting on the aesthetic of Latin America itself and some of those films were the works from memories exercises <\/em>poured down into several short films.<\/p>\n

\"\"

Andr\u00e9s Denegri.<\/p><\/div>\n

Regarding with \u201cPenal Colony\u201d as the topic, those films which were compiled into this screening session tried to retract the memories about the dark time from the dictatorship of the civil-military experienced by the Latin America. Grounding from the concept of short story by Franz Kafka, In the Penal Colony<\/em>, that screening framed the problems and images related to the values of subjugation and hatred which construct instability of society in Latin America.<\/p>\n

In the film screening, there were 12 films compiled and arranged into three parts. Each part consisted of 4 short films; each part and film representing the process of hatred which reflected on each works in this program. The first was \u2018Education, Identity and Behavior\u2019 which refer to the formation of character of hatred since early age by set of values constructed in the environment. The first film screened was VII Pulgadas \/ VII Inches<\/em> (2013) by Cristian Alarcon Ismodes. According to the festival catalogue, this 4 minutes film is about a child\u2019s character formation constructed through folk songs lullaby which were repeatedly taught in school. Through such songs, the subtle messages were conveyed. Through the approach of child\u2019s imagination constructed on the editing of endemic militarism and catechism for the purpose of power.<\/p>\n

The second film was Coming Out<\/em> (2015) by Florencia Aliberti consisted of footages delivering stories of confession about the sexual attraction they experienced. By exploring personal experiences online, the boundary between public and private get blurry. This film was conjugated through found footages in internet and was collected to shape a new narration representing self-intimacy online. Focusing on the \u2018self-narration\u2019, those video appeared like a record of \u201csin confession\u201d depicting the dynamics of repetition on how we represent ourselves.<\/p>\n

The third film is Producto Nacional<\/em> (or National Product<\/em>, 2014) by Maria Jose Ayarza. This film tried to explore the way of expressing woman\u2019s characteristics through advertisements aired on Chile\u2019s TV. The approach of those advertisements was intended to propose the emotional and material needs, giving prove that there exist the ironic references on the characteristic formation toward the elements of foreign identity.<\/p>\n

The fourth film was Subversion<\/em> (2016) by Herman Khourian. This short film was presenting the images which were formed from snippets of Videla\u2019s speech about the attempt of insurrection in bringing down the structure of power.<\/p>\n

Then, the second part was \u2018Authorized Violence\u2019. According to the explanation on the catalogue, this second part representing the landscape which was defined by the uncontrolled crimes which its purpose is to keep the status quo and protect the interest of people in power. The first film screened was Impresiones Para Una Maquina De Luz Y Sonido<\/em> (or Impressions for A Light and Sound Machine<\/em>, 2015) by Colectivo Los Ingravidos. This film narrated hurtful words in speech based on the permanent impression in the collective memory. Celluloid editing was done in the film by torn them apart to the point of vanish.<\/p>\n

The second film was Abecedario B \/ ABC<\/em> (2014) by Colectivo Los Ingravidos. Almost similar to the concept of Impressions for A Light and Sound Machine<\/em>, ABC tried to take cinematic experience through filmic execution from Mexican civil war. The pattern of editing was also done through snippets of images in the frames of hollow celluloid, as if pierced by bullets in the Mexican civil war.<\/p>\n

The third film was Paisaje Para Una Persona<\/em> (or Landscape for A Person<\/em>, 2014) by Florencia Levy. This film took the landscape of story about the conflict of transit or deportation. The material for this film editing took the audio of interviews about the victims of conflict with visualization from Google Street View. This film underlies a story by building layers of meaning which were reflected between the image and the story.<\/p>\n

The fourth film was Nores (Sin Senalar)<\/em> or Misters (Without Blame<\/em>, 2016) by Annalisa Quagliata. This 3-minutes film tried to highlight the homicides of a reporter, Ruben Espinosa. It tried to depict the context of violence and injustice which escalated in the state of Veracruz. Through the black and white film editing, this film seemed to give cinematic experience of the other era.<\/p>\n

Then the session was continued to the third part, ‘Control and Submission’. In this session, the collected films reflect how mastery was done with the dedication and individual wrath.<\/p>\n

The first film screened in this session was Personas Que No Conozco. Lugares Que No Recuerdo<\/em> (or Unknown People. Forgotten Places<\/em>, 2016) by Martin Oesterheld. The 4-minutes film re-narrated the imaginary journey of the director about his testimony in the age of 4 who has joined the armed struggle. The testimony of revolutionary activists in an interview was also presented. The second film was Familiar<\/em> (or A Relative<\/em>, 2014) by Paz Encina. This film depicted how a dictatorship system which killed a 12 years old girl named Apolonia Flores. Through the edited archives in the film, this work showed the repressive system of dictatorship history. The third film was Cuatro Recuerdos<\/em> (or Four Memories<\/em>, 2016) by Gustavo Fontan. This 4-minutes film reflected the military violence which has been unable to hide.<\/p>\n

The last film which was also the end of the screening session that night was De Lo De Adentro<\/em> (or From Within<\/em>, 2016) by Ana Gallardo. The film duration which was also only 4 minutes depicted individual anxiety about internal exile. Through editing style based on simple text narration, this film tried to summarize and show the scene of serenity and refusal to a reality that we all are alive.<\/p>\n

\"\"

Fang-Tze Hsu, one of the ARKIPEL Penal Colony’s Juries, also gave an opinion in the discussion session after the screening.<\/p><\/div>\n

After the twelve films were screened, the Q & A session was held. One of the audiences asked the question on how the audiences able to understand the film which has no translation and how was the response of the government to documentary films like what Andr\u00e9s Denegri curated. He replied that language, by seeing the relevance between scenes, even without translation, will be able to imply the plot which can be understood by the audiences. Although the films are presented in other languages, but by showing relevance between scenes, the audience will be able to string up the story in their own way, according to their own version of imagination. While relating to the second question, Andr\u00e9s Denegri replied that the documents filmed there were open, thus the government has no problem toward the production of those films. ***[\/vc_column_text][\/vc_tab][\/vc_tabs][vc_gallery type=”flexslider_slide” interval=”3″ images=”7317,7316,7315,7314,7313,7312,7311,7310″ img_size=”full” title=”Gallery”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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