{"id":7953,"date":"2018-07-30T07:50:43","date_gmt":"2018-07-30T00:50:43","guid":{"rendered":"http:\/\/arkipel.org\/?p=7953"},"modified":"2019-07-05T01:46:16","modified_gmt":"2019-07-04T18:46:16","slug":"arkipel-homoludens-forum-festival-panellists","status":"publish","type":"post","link":"https:\/\/arkipel.org\/arkipel-homoludens-forum-festival-panellists\/","title":{"rendered":"ARKIPEL homoludens – “Forum Festival 2018”"},"content":{"rendered":"[vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1532909927444{margin-bottom: 0px !important;}”]Forum Festival 2018, ARKIPEL\u00a0homoludens<\/em> – 6th Jakarta International Documentary and Experimental Film Festival akan menyajikan lima panel diskusi yang masing-masing membahas isu spesifik, dengan menghadirkan para pembicara yang dianggap kredibel dalam menawarkan pandangan-pandangan terkait topik yang akan dibahas. Tahun ini, ARKIPEL mengundang Akbar Yumni, salah seorang kritikus seni dan filem Indonesia, untuk menyampaikan pidato pembukaan.<\/span>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1532910328774{margin-bottom: 0px !important;}”]Forum Festival 2018, ARKIPEL homoludens – 6th Jakarta International Documentary and Experimental Film Festival is going to present five discussion panels. We invite some credible speakers for each panel that will address a specific issue based on their respective backgrounds. This year, ARKIPEL also invites Akbar Yumni, one of Indonesian art and film critic, to give the introductory speech.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”Introductory Speech” color=”custom” border_width=”2″ accent_color=”#ec0b6d”][vc_column_text css=”.vc_custom_1533615417735{margin-bottom: 0px !important;}”]\n

Ludic and the Embodiedness in the Digital Age<\/strong><\/a>
\nLudic dan Kebertubuhan di Era Digital<\/em><\/h4>\n

Wednesday, August 8, 2018 | 09:00 – 09:10 am | GoetheHaus<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8101″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532951625523{margin-bottom: 0px !important;}”]Akbar Yumni <\/strong>(Jakarta, 1975) adalah kritikus, kurator filem, dan anggota Forum Lenteng. Ia adalah Pemimpin Redaksi\u00a0Jurnal 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. Saat ini ia tengah mengerjakan proyek performan dan arsip filem-filem yang hilang di era kekuasaan otoriter.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532911275344{margin-bottom: 0px !important;}”]Akbar Yumni<\/strong> (Jakarta, 1975) is a film critic and curator, and a member of Forum Lenteng, as well as Editor in Chief of Jurnal Footage (www.jurnalfootage.net<\/a>). He studies Philosophy at Sekolah Tinggi Filsafat Driyarkara, Jakarta. He is also a freelance researcher at Jakarta Arts Council. He is currently working on a performance project and archives of the lost films in the authoritarian era.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”Panel I” color=”custom” border_width=”2″ accent_color=”#ec0b6d”][vc_column_text css=”.vc_custom_1532947308879{margin-bottom: 0px !important;}”]\n

Ludic and Performativity<\/strong><\/a>
\nLudic dan Performativitas<\/em><\/h4>\n

Wednesday, August 8, 2018 | 09:10 – 10:30 am | GoetheHaus<\/p>\n[\/vc_column_text][vc_tta_accordion style=”modern” c_align=”center” c_icon=”” active_section=”0″ no_fill=”true” collapsible_all=”true”][vc_tta_section i_icon_fontawesome=”fa fa-plus” add_icon=”true” tab_id=”1532949452630-465e6ac7-5a42″ title=”Panel Description”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532950661941{margin-bottom: 0px !important;}”]Pengalaman menonton di ruang gelap mendorong situasi yang dengan sengaja meniadakan mobilitas tubuh dan persepsi lingkungan; ia memindahkan tubuh menjauh dari waktu dan ruang lokalnya saat itu ke dalam ruang naratif dunia sinema di layar. Sementara itu, perkembangan mutakhir menunjukkan bahwa budaya sinema hari ini membuat filem memiliki kecenderungan untuk tidak lagi sekadar mementingkan keahlian mengkonstruksi cerita yang didukung oleh teknis dan kemampuan akan teknis itu sendiri, tetapi juga kecenderungan untuk mengkonstruksi perubahan pola bermain yang menubuh dengan subjek-subjek pelakunya, yaitu pencipta dan penonton. Saat sinema kini sudah tidak lagi soal ruang gelap, perihal tentang interaksi antara tubuh dan layar tontonan mengemuka dalam perbincangan kita mengenai sinema. Di konteks tertentu, interaktivitas yang ada dari pengalaman menonton ini menciptakan suatu keadaan yang setara antara pencipta dan penonton, yang mana kesetaraan itu kerap menjadi bagian dari pengalaman sinematiknya.<\/span><\/p>\n

Situasi menonton yang telah berubah seiring bagaimana teknologi hari ini hadir dalam bentuknya yang baru itu juga mengubah tingkah laku tubuh secara mendasar. Realitas dibangun oleh mesin dengan bahasa, gestur, dan semua jenis tanda sosial yang bersifat simbolik; tubuh mengakses realitas dengan dimediasi oleh mesin. Hasrat ataupun tindakan bukan lagi bertujuan untuk merepresentasikan sesuatu, melainkan menjadi tujuan itu sendiri: tindakan aktif tubuh dalam interaksinya dengan teknologi. Tanggapan tubuh terhadap perubahan teknologi yang masih akan terus berlangsung tersebut, dengan demikian, menjadi pertanyaan penting dan relevan dalam konteks ini. Pemetaan macam apa yang dapat kita tarik dalam rangka menelaah perubahan interaksi antara tubuh dan teknologi, di tengah-tengah fenomena hubungan antara publik dan kultur layar? Sampai di batas mana perubahan ini dapat menelisik masuk ke kehidupan berlapis sosial-politik manusia?<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532950700911{margin-bottom: 0px !important;}”]The experience of watching film in darkroom creates somehow a situation that deliberately negates our body\u2019s movement and environmental perception; it displaces the body from its real space and time into the narrative space of the cinematic world on the screen. Meanwhile, the current development of cinema culture indicates certain tendencies that film is no longer focused on the ability in constructing stories supported by technical expertise and tools, but also the potency to address revolution of the embodied playing patterns of its subjects\u2014the creator and the spectators. When cinema is no longer a matter of the darkroom, the new kind of interaction between the body and the screen rises in our conversation about cinema. In some contexts, such interactivity configures an equivalent relationship between the creator and the spectator, more often than not it becomes the most important part of cinematic experience.<\/span><\/p>\n

Such watching situation that is shifting concomitant with how nowadays technologies come in its new form also alters the fundamental behaviour of our body. Reality is built by the machine through language, gesture, and all kind of symbolic social signs; the body accesses reality in a machinery-mediated way. Desire or action no longer aims to represent something but becomes the objective on its own: the action of the body in its interaction with technology. Therefore, the body\u2019s response towards technology\u2019s ongoing evolution is an important and relevant question in this context. How do we discuss the changing form of interaction between the body and the technology among the phenomenon of relationship between public and screen culture? To what extent can these changes probe into the social-political life of human-being?<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_accordion][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Panellists”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8111″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532914491563{margin-bottom: 0px !important;}”]Azar Mahmoudian<\/strong> adalah seorang kurator dan pendidik yang berbasis di Tehran. Ia pernah menjadi programer pada penayangan di SOAS, London; HFK, Bremen; Blackwood Gallery, Universitas Toronto dan menjadi co-kurator di 11th Monitor Festival, SAVAC. Ia pernah menjadi anggota Dewan Juri pada Images Festival 2015, Toronto dan juga bagian dari tim kuratorial Biennal Gwanju 11th, 2016. Ia kini tengah mengerjakan seri kedelapan dari sebuah rangkaian penayangan filem, Sensible Grounds and Tectonics of Camaraderie<\/em>,<\/em> sebagai bagian dari proyek 4Cs <\/em>yang didanai oleh Uni Eropa (2918-2020, di berbagai lokasi).<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532913148810{margin-bottom: 0px !important;}”]Azar Mahmoudian<\/strong>\u00a0is an independent curator and educator based in Tehran. She has programmed screenings at SOAS, London; HFK, Bremen; Blackwood Gallery, Toronto University, and co-curated 11th Monitor Festival, SAVAC, among others. She was a jury member at Images Festival, Toronto (2015) and was part of the curatorial team of the 11th Gwangju Biennial (2016). She is currently working on an eight-chaptered film program, \u201cSensible Grounds and Tectonics of Camaraderie,\u201d as part of the 4Cs Project (multiple venues, 2018-2020).<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8112″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532914003824{margin-bottom: 0px !important;}”]Afrizal Malna <\/strong>kini aktif mengurus program teater di Komite Teater Dewan Kesenian Jakarta. Buku-buku terbarunya yang telah terbit, antara lain Kepada Apakah<\/em> (2013); Anxiety Myths<\/em> (terjemahan Andy Fuller, 2013, masuk dalam 75 besar World Literature Today); kumpulan puisi dalam bahasa Jerman, drucktmaschine drittmensch<\/em> (terjemahan Urilke Draesner, Katrin Bandel, Sophie Mahakam Anggawi: DAAD, Berlin 2015). Ia juga menerbitkan\u00a0Berlin Proposal<\/em> (Nuansa Cendekia, Bandung, 2015); Teks Cacat Di luar Tubuh Aktor<\/em> (Kalabuku, Yogyakarta, 2017); Pagi yang Miring ke Kanan<\/em> (Nyala, Yogyakarta, 2017); Pada Batas Setiap Masakini<\/em> (Octopus, Yogyakarta 2017). Ia pernah mengikuti residensi DAAD di Berlin (2014-2015), serta berpartisipasi di Poetry On The Road International Bremen (Mei 2014), Berlin International Literatur Festival (September 2014), Maasricht International Poetry Night (Oktober-November, 2014), dan Literature Festival Southeast Asia Litprom Frankfurt, (Januari 2015); Hamburg Literatur Festival (Harbour Front, September 2015); International Poetry Festival-Kritya, di Kerala, India, (Februari 2016); serta mengikuti Tokyo Performances Arts Meeting (TPAM) di Yokohama, sebuah grant<\/em> dari Japan Foundation Jakarta. Ia juga menjadi peserta dalam Jakarta Biennale 2017.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532914020281{margin-bottom: 0px !important;}”]Afrizal Malna<\/strong>\u00a0is in charge of <\/span>theater programme at the Theater Committee of the Jakarta Arts Council. His latest published books: Kepada Apakah<\/em> (2013); Anxiety Myths<\/em> (translated by Andy Fuller, 2013, enlisted in the big 75 World Literature Today); a poetry anthology in German, drucktmaschine drittmensch<\/em> (translated by <\/span>Urilke Draesner, Katrin Bandel, Sophie Mahakam Anggawi: DAAD, Berlin 2015). He is also the author of\u00a0Berlin Proposal<\/em> (Nuansa Cendekia, Bandung, 2015); Teks Cacat Di Luar\u00a0<\/em>Tubuh Aktor<\/em> (Kalabuku, Yogyakarta, 2017); Pagi yang Miring ke\u00a0<\/em>Kanan<\/em> (Nyala, Yogyakarta, 2017); Pada Batas Setiap Masakini<\/em> (Octopus, Yogyakarta 2017). He was involved in DAAD’s residency in Berlin (2014-2015), Poetry On The Road International Bremen (May 2014), Berlin International Literature Festival (September 2014), <\/span>Maasricht International Poetry Night (October-November, 2014) and Literature Festival Southeast Asia Litprom Frankfurt, (January 2015); Hamburg Literature Festival (Harbor Front, September 2015); International Poetry Festival-Kritya, in Kerala, India, (February 2016). He joined Tokyo Performances Arts Meeting (TPAM) in Yokohama, a grant from the Japan Foundation Jakarta. He was also included as an artist in Jakarta Biennale 2017.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Moderator”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8113″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532913992500{margin-bottom: 0px !important;}”]Prashasti W. Putri<\/strong> adalah seorang seniman performans dan organisator seni. Menamatkan pendidikan di bidang Kriminologi di Universitas Indonesia tahun 2014. Selain menjadi Koordinator Program Forum Festival ARKIPEL, saat ini ia juga aktif mengelola 69 Performance Club, sebuah platform untuk studi mengenai sejarah dan seni performans yang digagas oleh Forum Lenteng, serta menjadi salah satu partisipan di Milisifilem Collective.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532913969979{margin-bottom: 0px !important;}”]Prashasti W. Putri<\/strong> is a performance artist and art organiser. She graduated in Criminology at the University of Indonesia in 2014. Besides being the Coordinator of Forum Festival Program at ARKIPEL, she is currently managing the 69 Performance Club, a platform for the study of history and performance art initiated by Forum Lenteng, as well as being one of the participants in Milisifilem Collective.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”Panel II” color=”custom” border_width=”2″ accent_color=”#ec0b6d”][vc_column_text css=”.vc_custom_1532947332224{margin-bottom: 0px !important;}”]\n

Film Criticism and Film Institution<\/strong><\/a>
\nKritisisme Filem dan Lembaga Perfileman<\/em><\/h4>\n

Wednesday, August 8, 2018 | 11:00 am – 12:30 pm | GoetheHaus<\/p>\n[\/vc_column_text][vc_tta_accordion style=”modern” c_align=”center” c_icon=”” active_section=”0″ no_fill=”true” collapsible_all=”true”][vc_tta_section i_icon_fontawesome=”fa fa-plus” add_icon=”true” tab_id=”1532950739910-2f14bbda-088e” title=”Panel Description”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532951213004{margin-bottom: 0px !important;}”]Pertumbuhan subur berbagai jenis lembaga perfileman di Indonesia, mulai dari yang bertujuan sebagai sarana produksi, apresiasi, kajian, pengarsipan, distribusi, dan pengembangan jaringan, hingga yang dengan sadar bereksperimen (dalam bentuk apa pun) terhadap medan perfileman global, merentang dari ranah yang paling formal, seperti lembaga yang disahkan atau yang mewakili negara, hingga ke ranah industri, seperti asosiasi para pekerja filem, juga ke ranah alternatif, seperti asosiasi komunitas dan insan independen. Dampak positif yang menyusul amanat Undang-Undang ini membuka pertanyaan baru bagi kritisisme filem, baik tentang soal-soal yang masih bersifat kekaryaan dan kesenimanan, maupun tentang faktor-faktor penting bersifat institusional yang menaunginya. Ada kebutuhan untuk meluaskan cakupan kritik guna melihat hubungan antara lembaga formal dan nonformal yang menaruh perhatian terhadap filem, sekaligus memancing kesadaran kritis lembaga-lembaga yang ada tentang posisi strategisnya masing-masing dalam lingkup aktivitas politik kebudayaan yang lebih luas. Sebab, aktualisasi kelembagaan agaknya menunjukkan perubahan-perubahan berarti dalam hal status dan bentuk pengelolaan organisasional para pegiat filem, juga pengaruh timbal-baliknya terhadap perkembangan bentuk, bahasa, dan estetika filem serta modus penyelenggaraan peristiwa perfileman. Apakah yang dapat kita pahami dari gejala-gejala aktual ini di dalam kerangka kritisisme filem, ataupun tentang kritisisme filem itu sendiri yang kiranya juga mengalami institusionalisasi pada bagian-bagian tertentunya?<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532951236958{margin-bottom: 0px !important;}”]The rapid growth of various types of film institutions in Indonesia, ranging from those that serve as means of production, appreciation, study, archiving, distribution, and network development, to the consciously experimenting (in any form) of the global film field, extending from the most formal realms, such as institutions that are endorsed by or represents a country, to the industrial realm, such as the association of film workers, as well as to alternative spheres, such as community and independent individual. The positive impact following the mandate of the Act opens new questions for film criticism, both regarding the workmanship and artistry, as well as on the important institutional factors that support it. There is a need to expand the scope of criticism to see the relationship between formal and non-formal institutions that concern about film, as well as to provoke critical awareness of existing institutions about their respective strategic positions within the broader range of cultural political activities. This is because institutional actualization seems to indicate significant changes in terms of the status and forms of organizational management of film practitioners, as well as their reciprocal influence on the development of film forms, languages and aesthetics and the mode of organizing film events. What can we understand from these actual phenomena within the framework of film criticism, or about the criticism of the film itself, which may also be institutionalized in particular sections?<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_accordion][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Panellists”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8114″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532914800130{margin-bottom: 0px !important;}”]Michael Baute <\/strong>adalah seorang penulis, pengajar, pekerja media, dan kurator. Ia mempublikasikan teks, artikel, kebanyakan tentang sinema, dalam buku, katalog, dan majalah sejak 1992 (seperti di Jungle World<\/em>, Sigi-Goetz Entertainment<\/em>, Cargo<\/em>, kolik.film<\/em>, tip Berlin<\/em> dan taz<\/em>). Tahun 2001, ia turut mendirikan weblog newfilmkritik.de<\/em>. Antara 1996-2004, ia banyak berkecimpung di produksi filem sebagai peneliti, pencatat adegan, manajer produksi, asisten sutradara, dan pelaksana produksi selama produksi filem-filem dari Thomas Arslan, Harun Farocki, Christian Petzold, Angela Schanelec, dan lain-lain. Pada tahun 2006, ia menjadi co-editor (dengan Volker Pantenburg) buku Minutentexte. The Night of the Hunter<\/em>\u00a0(Berlin: Brinkmann und Bose). Ia juga turut menulis drama radio \u201cMinutentexte\u201d pada 2008. \u201cThe Night of the Hunter\u201d mendapat nominasi untuk ARD-H\u00f6rspielpreis 2008 dan Preis der deutschen Kriegsblinden 2009. Sejak 2010, ia mengadakan seminar dan lokakarya di sekolah filem dan seni, dan di universitas-universitas.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532914915227{margin-bottom: 0px !important;}”]Michael Baute<\/strong> is an author, lecturer, media-worker and curator. He publishes texts and articles, mostly on cinema, in books, catalogues, magazines since 1992 (e.g. in Jungle World<\/em>, Sigi-Goetz Entertainment<\/em>, Cargo<\/em>, kolik.film<\/em>, tip Berlin<\/em> and taz<\/em>). In 2001 he co-founded the weblog newfilmkritik.de. Between 1996 and 2004 he did several activities in film production such as researcher, script-continuity, production manager, assistant director and production driver during the production of films by Thomas Arslan, Harun Farocki, Christian Petzold, Angela Schanelec and others. In 2006 he was a co-editor (with Volker Pantenburg) of the book Minutentexte. The Night of the Hunter<\/em>\u00a0(Berlin: Brinkmann und Bose). He was a co-author of the radio play \u201cMinutentexte\u201d in 2008. \u201cThe Night of the Hunter\u201d was nominated for the ARD-H\u00f6rspielpreis 2008 and the Preis der Deutschen Kriegsblinden 2009. Since 2010 he conducts seminars and workshops in film\/art schools and universities.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8101″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532914476664{margin-bottom: 0px !important;}”]Akbar Yumni <\/strong>(Jakarta, 1975) adalah kritikus, kurator filem, dan anggota Forum Lenteng. Ia adalah Pemimpin Redaksi\u00a0Jurnal 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. Saat ini ia tengah mengerjakan proyek performan dan arsip filem-filem yang hilang di era kekuasaan otoriter.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532914519965{margin-bottom: 0px !important;}”]Akbar Yumni<\/strong> (Jakarta, 1975) is a film critic and curator, and a member of Forum Lenteng, as well as Editor in Chief of Jurnal Footage (www.jurnalfootage.net<\/a>). He studies Philosophy at Sekolah Tinggi Filsafat Driyarkara, Jakarta. He is also a freelance researcher at Jakarta Arts Council. He is currently working on a performance project and archives of the lost films in the authoritarian era.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Moderator”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8115″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532915163469{margin-bottom: 0px !important;}”]Afrian Purnama <\/strong>(Jakarta, 1989) adalah kritikus, kurator, dan pembuat filem, anggota Forum Lenteng, dan penulis utama di Jurnal Footage<\/em> (www.jurnalfootage.net)<\/a>. Lulus dari Jurusan Ilmu Komputer, Universitas Bina Nusantara, tahun 2013. Ia juga menjadi asisten kurator untuk Program Kultursinema di ARKIPEL 2018.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532915243717{margin-bottom: 0px !important;}”]Afrian Purnama <\/strong>(Jakarta, 1989) is a filmmaker, critic, and curator, a member of Forum Lenteng and one of the main authors at Jurnal Footage<\/em> (www.jurnalfootage.net)<\/a>. He graduated Computer Science at the Universitas Bina Nusantara in 2013. He is also the assistant curator for Kultursinema Program at ARKIPEL 2018.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”Panel III” color=”custom” border_width=”2″ accent_color=”#ec0b6d”][vc_column_text css=”.vc_custom_1532947356803{margin-bottom: 0px !important;}”]\n

Film Education: Current and Future Practice<\/strong><\/a>
\nPendidikan Filem Sekarang dan Masa Mendatang<\/em><\/h4>\n

Wednesday, August 8, 2018 | 02:00 – 03:30 pm | GoetheHaus<\/p>\n[\/vc_column_text][vc_tta_accordion style=”modern” c_align=”center” c_icon=”” active_section=”0″ no_fill=”true” collapsible_all=”true”][vc_tta_section i_icon_fontawesome=”fa fa-plus” add_icon=”true” tab_id=”1532950836640-c1b5de8a-2af3″ title=”Panel Description”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532951299021{margin-bottom: 0px !important;}”]Peta perfileman kita setidaknya mengindikasikan bahwa nilai produktivitas antara pelaku filem yang dilatarbelakangi oleh kepentingan industri, aktivisme dan euforia komunitas, dan yang bertujuan untuk kebutuhan akademik, hingga hari ini cenderung menuju titik kesetimbangan dari segi kuantitasnya. Persinggungan antara ketiga ranah itu menjadi demikian penting seiring dengan maraknya ide-ide eksperimentatif untuk menggenjot distribusi pengetahuan filem dan output<\/em>-nya ke berbagai kalangan. Gejala ini tentu perlu dicermati dengan tetap memastikan adanya usaha untuk merancang dan menerapkan berbagai kemungkinan dari mekanisme pendidikan, baik formal maupun alternatif, yang tidak lagi terkotak-kotak dan secara ideal mampu menyesuaikan perkembangan zaman dan wacana terkini di lingkungan perfileman global. Menanggapi hal ini, Forum Festival ARKIPEL mencoba membuka perbincangan tentang ragam kurikulum pendidikan filem. Diwakili oleh sejumlah pelaku pendidikan di ranah itu, panel ini juga berupaya memicu analisa kritis terhadap kurikulum pendidikan filem yang selama ini telah diterapkan oleh berbagai jenis institusi pendidikan, sekaligus memfasilitasi ruang bagi pelaku akademik dan nonakademik untuk saling berbagi pandangan mengenai sistem pendidikan sinema sekarang dan masa yang akan datang.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532951320731{margin-bottom: 0px !important;}”]The mapping of our cinema today at least indicates that the values of productivity between film doers which based on industrial interests, activism and community euphoria, and those who aimed toward academic needs, tend to meet the equilibrium points in terms of their quantity. The intersection of the three domains has become so important as the rise of the experimentative ideas to boost the distribution of film knowledge and its output to various circles. This phenomenon certainly needs to be scrutinised while ensuring an effort to design and implement the various possibilities of the formal and alternative educational mechanism, which are no longer fragmented and ideally able to adapt the latest update and current discourse of the global film sphere. In response to this, ARKIPEL Forum Festival tries to open a discussion about the variety of film education curriculums. Represented by a number of educational activists in the film field, this panel also seeks to trigger critical analysis of the curriculum of film education that has been applied by various types of educational institutions, as well as to facilitate the space for academic and non-academic based activists to share their views on current and future education system of cinema.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_accordion][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Panellists”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8116″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532915445742{margin-bottom: 0px !important;}”]Choiru Pradhono <\/strong>adalah lulusan dari Institut Seni Indonesia (ISI) Yogyakarta tahun 2005. Kemudian ia melanjutkan studi di program pasca sarjana ISI Yogyakarta dan lulus pada 2014. Ia tergabung dalam komunitas filem \u201cJustkidding Video Explore\u201d sejak 1999 hingga sekarang. Pada 2003 sampai 2007, ia tergabung dalam kelompok pembuat video musik \u201cPopulair Project\u201d. Sekarang ia mengajar di Program Studi Televisi dan Film ISI Padangpanjang.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532915493122{margin-bottom: 0px !important;}”]Choiru Pradhono<\/strong> graduated from Institut Seni Indonesia (ISI) Yogyakarta in 2005. Then he continued his studies in ISI Yogyakarta postgraduate program and graduated in 2014. He is incorporated in the film community “Justkidding Video Explore” since 1999 until now. In 2003 to 2007 he joined the group of music video maker “Populair Project”. Now he is a lecturer in Television and Film Studies – ISI Padangpanjang.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8117″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532951607173{margin-bottom: 0px !important;}”]Kus Sudarsono<\/strong> merupakan profesional di industri filem, iklan, dan televisi. Pada tahun 2011-2013, ia mulai mengajar sebagai dosen paruh waktu di Universitas Multimedia Nusantara, Binus University, dan IDS sambil meneruskan studi S2 di Institut Kesenian Jakarta. Sejak pertengahan 2014, ia bergabung secara penuh waktu sebagai dosen di Universitas Multimedia Nusantara, dan tahun 2015 dipercaya menjadi Koordinator Lab Fakultas Seni dan Desain. Pada 2017, ia dipercaya menjabat sebagai Ketua Program Studi Film dan Televisi sampai sekarang.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532915767983{margin-bottom: 0px !important;}”]Kus Sudarsono <\/strong>is a professional in the television, advertising, and film industry. In 2011-2013 he began teaching as a part-time lecturer at Universitas Multimedia Nusantara, Binus University, and IDS while continuing his master programme at the Jakarta Art Institute. Since mid-2014 he became a full-time lecturer at Universitas Multimedia Nusantara, and in 2015 he was the Lab Coordinator of the Faculty of Arts and Design. Since 2017 until now he is the Head of Film and Television Studies Program.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8118″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532916058454{margin-bottom: 0px !important;}”]Ifa Isfansyah<\/strong> lulus dari Fakultas Televisi Institut Seni Indonesia, Yogyakarta. Ia memulai karirnya di perfileman sebagai seorang produser dan sutradara untuk beberapa filem pendek, termasuk\u00a0Be Quiet, Exam Is In Progress!\u00a0<\/em>(Tokyo ShortShort, Kompetisi, 2006) dan Half Teaspoon\u00a0<\/em>(Grand Prize Hong Kong Independent Film Video Award & Competition, IFFR 2008). Pada tahun 2001, ia memulai perusahaan Fourcolours Films bersama pembuat filem lokal lainnya dengan tujuan memproduksi dan mendukung pembuat filem Indonesia. Ia dipilih oleh Asian Film Academy BUSAN pada tahun 2006 dan mendapatkan beasiswa untuk belajar di Im Kwon Taek College of Film & Performing Arts, Korea. Kembali ke Indonesia, ia menyutradarai filem perdananya, Garuda di Dadaku<\/em> (2009). Filem keduanya,\u00a0The Dancer\u00a0<\/em>(2011) mendapatkan penghargaan Sutradara Terbaik dan Filem Terbaik di Festival Filem Indonesia. Setelah itu, ia memproduksi Siti<\/em> (Eddie CAHYONO, TELLURIDE 2015), Turah<\/em> (Wicaksono Wisnu LEGOWO, entri resmi Indonesia pada OSCAR 2018) dan The Seen and Unseen\u00a0<\/em>(Kamila ANDINI, TORONTO IFF 2017). Isfansyah adalah pendiri JOGJA-NETPAC Asian Film Festival yang dimulai pada tahun 2006 dan juga mendirikan JOGJA FILM ACADEMY pada tahun 2014.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532916194797{margin-bottom: 0px !important;}”]Ifa Isfansyah <\/strong>graduated from the Television Department of Indonesian Institute of Art Jogjakarta. He began his career in cinema as Producer and Director of several short films, including Be Quiet, Exam Is In Progress!<\/em> (Tokyo ShortShort, Competition, 2006) and Half Teaspoon<\/em> (Grand Prize Hong Kong Independent Film Video Award & competition, IFFR 2008). In 2001, he started his company Fourcolours Films with other local filmmakers in order to produce and support Indonesian filmmakers. He was selected by the Asian Film Academy BUSAN in 2006 and got a scholarship to attend the <\/span>Im Kwon Taek College of Film & Performing Arts, Korea. Then back to Indonesia, he directed his first feature film, Garuda Di Dadaku<\/em> (2009). His second film, The Dancer<\/em> (2011) was awarded Best Director and Best Picture at the Indonesian Film Festival. Since then he has produced Siti<\/em> (Eddie CAHYONO, TELLURIDE 2015), Turah<\/em> (Wicaksono Wisnu LEGOWO, Indonesian Official Entry for OSCAR 2018) and The Seen and Unseen<\/em> (Kamila ANDINI, TORONTO IFF 2017). Isfansyah is also a founder of JOGJA-NETPAC Asian Film Festival that started in 2006 and a founder of the JOGJA FILM ACADEMY, which was established in 2014.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Moderator”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8119″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532916540949{margin-bottom: 0px !important;}”]Manshur Zikri\u00a0<\/b>(Pekanbaru, 1991) adalah seorang kritikus, kurator, dan peneliti yang fokus pada ranah seni, media, dan sinema. Menamatkan pendidikan di bidang Kriminologi di Universitas Indonesia pada tahun 2014. Saat ini ia juga menjadi salah satu peneliti di Pekan Seni Media, sebuah program penyelenggaraan dan pengarsipan seni media yang digagas oleh Forum Lenteng dan bekerja sama dengan Direktorat Kesenian, Direktorat Jenderal Kebudayaan, Kementerian Pendidikan dan Kebudayaan Republik Indonesia.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532916690864{margin-bottom: 0px !important;}”]Manshur Zikri (Pekanbaru, 1991) is a critic, curator, and researcher who focuses on the realm of art, media, and cinema. He graduated in Criminology at the University of Indonesia in 2014. He is currently one of the researchers at Pekan Seni Media, a program of media art and archiving initiated by Forum Lenteng in collaboration with the Directorate of Arts, Directorate General of Culture, Ministry Education and Culture of the Republic of Indonesia.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”Panel IV” color=”custom” border_width=”2″ accent_color=”#ec0b6d”][vc_column_text css=”.vc_custom_1532947414453{margin-bottom: 0px !important;}”]\n

Beyond Collaboration: Between Collective and Individual Practice<\/strong><\/a>
\nMelampaui Kolaborasi: Antara Berkarya Secara Kolektif dan Individu<\/em><\/h4>\n

Thursday, August 9, 2018 | 09:00 – 10:30 am | GoetheHaus<\/p>\n[\/vc_column_text][vc_tta_accordion style=”modern” c_align=”center” c_icon=”” active_section=”0″ no_fill=”true” collapsible_all=”true”][vc_tta_section i_icon_fontawesome=”fa fa-plus” add_icon=”true” tab_id=”1532950917492-88970d29-bba5″ title=”Panel Description”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532951369150{margin-bottom: 0px !important;}”]Adakah struktur suatu karya hasil kolaborasi, serta proses di baliknya, juga merepresentasikan struktur medan sosial yang di dalamnya seniman selalu mencoba bermain dan bereksperimen untuk menanggapi isu-isu aktual dan historis? Untuk meletakkannya sebagai imajinasi visioner dalam rangka menjelajahi kemungkinan-kemungkinan estetis, \u2018kolaborasi\u2019 dalam konteks ini tidak lagi dipahami sebagai semata-mata suatu bentuk kerja sama antarseniman, seniman dan lembaga, ataupun seniman dan warga, tetapi lebih sebagai manifestasi hubungan simbiotik yang secara filosofis memengaruhi pilihan bahasa dan bentuk seni, sehingga pada akhirnya akan menentukan pernyataan artistik, makna konstruktif, dan dampak sosiokultural dari hasil dan proses yang dilakukan seniman. Dua pembicara yang dihadirkan pada panel ini memiliki latar belakang aktivitas di lingkup sosial, budaya, dan geografi yang berbeda satu sama lain, tetapi praktik mereka sama-sama mencerminkan kesadaran tentang usaha untuk mengamplifikasi pendekatan kolaboratif hingga ke titik termaksimalnya, menjadikan pengalaman berkomunitas sebagai bagian dari pernyataan kultural mereka, dan menunjukkan keaktifan di skena kolektif seni yang telah lintas ranah dan generasi. Produktivitas mereka juga demikian tinggi sebagai seniman individu yang tetap menyertakan ide kolaborasi ke dalam gagasan-gagasan seni mereka. Keduanya diharapkan dapat mewakili perbincangan kita untuk mengungkai perluasan makna dari kolaborativisme yang penting bagi pengembangan pengetahuan mengenai gambar bergerak. Bagaimana seharusnya kita secara filosofis memahami kolaborasi sebagai cara berpikir dan berlatih? Bagaimana kita melampaui kolaborasi?<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532951391753{margin-bottom: 0px !important;}”]Does the structure of collaborative works, as well as the process behind them, represent the structure of the social world in which the artists play and in which they are always experimenting to respond to actual issues and history? As an attempt to view this as a type of visionary imagination to explore aesthetic possibilities, “collaboration” in the context of this discussion is understood not only as a mere form of cooperation (between artists, artists and institutions, or even artists and non-artists) but also as a manifestation of the symbiotic relationship that philosophically influences the choice of language and form of art. It will eventually determine the artistic statements and the constructive meaning made by the artists, as well as its sociocultural impacts. Both keynote speakers who present in this panel have a background of activities from different social, cultural, and geographic spheres. However, some aspects of their practices reflect an awareness in amplifying the collaborative approach to reach its maximum potential, place the experiences of working in the collective as part of their cultural statement, and demonstrate a liveliness in the climate of interdisciplinary art collectives through generations. In their very high productivity as an individual artist, they also involve the collaborative notion in their ideas on art. Both of them can represent our conversation in the framework of addressing and expanding the meaning of “collaboration,” which is very important for advancing our knowledge on moving image practices. How should we philosophically understand collaboration as a way of thinking and practice? How do we go beyond collaboration?<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_accordion][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Panellists”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8120″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532917525553{margin-bottom: 0px !important;}”]Otty Widasari <\/strong>(Balikpapan, 1973) adalah seorang seniman, penulis, pembuat filem, dan kurator. Ia salah satu pendiri Forum Lenteng, dan kini bertanggung jawab pada Program Pendidikan dan Pemberdayaan Media Berbasis Komunitas di Forum Lenteng. Ia pernah kuliah di Jurusan Jurnalistik, Institut Ilmu Sosial dan Ilmu Politik (IISIP) Jakarta, dan kemudian menamatkan pendidikan di bidang Seni di Institut Kesenian Jakarta pada tahun 2013. Selain mengelola berbagai proyek dan program dalam jaringan komunitas lokal di berbagai kota, Otty juga aktif berkarya dan telah menyelenggarakan pameran tunggal, di antaranya\u00a0Ones Who Looked At the Presence\u00a0<\/em>(2015, Arke Galerie, Yogyakarta) dan\u00a0Ones Who Are Being Controlled<\/em> (2016, Dia.Lo.Gue Artspace, Jakarta).<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532917588136{margin-bottom: 0px !important;}”]Otty Widasari<\/strong> (Balikpapan, 1973) is an artist, writer, filmmaker, and curator. She is one of the founders of Forum Lenteng and is in charge of Community-Based Media Empowerment and Education Program at Forum Lenteng. She had once studied Journalism at Institute of Social and Political Sciences (IISIP) Jakarta and then finished her education in Arts at the Jakarta Arts Institute in 2013. In addition to managing various collaborative projects and programs with some local collectives from various cities, Otty is also active to create artworks and has organised solo exhibitions, Ones Who Looked At the Presence<\/em> (2015, Arke Galerie, Yogyakarta) and Ones Who Are Being Controlled<\/em> (2016, Dia.Lo.Gue Artspace, Jakarta).<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8121″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532917706537{margin-bottom: 0px !important;}”]Helen Petts<\/strong> adalah seniman dan pembuat filem asal Inggris yang kerap mengeksplorasi ritme, tekstur, suara, dan peristiwa-peristiwa yang terjadi secara kebetulan, baik di lanskap pedesaan maupun dalam hubungannya dengan musisi eksperimental. Ia bekerja dengan komunitas video dan membuat filem untuk TV, tetapi kini ia kerap menampilkan karya-karyanya di berbagai galeri seni dan festival. Dia menempuh pendidikan Seni di Goldsmith’s College dan studi Filem di Westminster University. Karya-karyanya kini didistribusikan oleh Lux Artists Moving Image.<\/em><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532917835277{margin-bottom: 0px !important;}”]Helen Petts<\/strong> is a British artist-filmmaker who explores rhythm, texture, sound and chance events, both in the rural landscape and with experimental musicians. She has worked in community video and made films for TV, but she now shows her work in art galleries and festivals. She studied Fine Art at Goldsmith’s College and Film at Westminster University, London. Her works are distributed by LUX Artists Moving Image.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Moderator”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8119″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532916540949{margin-bottom: 0px !important;}”]Manshur Zikri\u00a0<\/b>(Pekanbaru, 1991) adalah seorang kritikus, kurator, dan peneliti yang fokus pada ranah seni, media, dan sinema. Menamatkan pendidikan di bidang Kriminologi di Universitas Indonesia pada tahun 2014. Saat ini ia juga menjadi salah satu peneliti di Pekan Seni Media, sebuah program penyelenggaraan dan pengarsipan seni media yang digagas oleh Forum Lenteng dan bekerja sama dengan Direktorat Kesenian, Direktorat Jenderal Kebudayaan, Kementerian Pendidikan dan Kebudayaan Republik Indonesia.<\/span><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532916690864{margin-bottom: 0px !important;}”]Manshur Zikri (Pekanbaru, 1991) is a critic, curator, and researcher who focuses on the realm of art, media, and cinema. He graduated in Criminology at the University of Indonesia in 2014. He is currently one of the researchers at Pekan Seni Media, a program of media art and archiving initiated by Forum Lenteng in collaboration with the Directorate of Arts, Directorate General of Culture, Ministry Education and Culture of the Republic of Indonesia.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space][vc_text_separator title=”Panel V” color=”custom” border_width=”2″ accent_color=”#ec0b6d”][vc_column_text css=”.vc_custom_1532947732484{margin-bottom: 0px !important;}”]\n

Role of Community in Determining Our Language of Cinema<\/a><\/strong>
\nPeran Komunitas dalam Menentukan Bahasa Sinema Kita<\/em><\/h4>\n

Thursday, August 9, 2018 | 11:00 am – 12:30 pm | GoetheHaus<\/p>\n[\/vc_column_text][vc_tta_accordion style=”modern” c_align=”center” c_icon=”” active_section=”0″ no_fill=”true” collapsible_all=”true”][vc_tta_section i_icon_fontawesome=”fa fa-plus” add_icon=”true” tab_id=”1532950991234-badadedd-bb66″ title=”Panel Description”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532951441081{margin-bottom: 0px !important;}”]Ruang aktivisme filem dalam bentuk komunitas\/kolektif tumbuh berlantasan di beragam lokasi. Tanjakan kuantitas komunitas ini menggaungkan peluang adanya pola-pola baru dalam pertukaran wacana sinema kita. Untuk menguatkan daya tawarnya, komunitas perlu secara konsisten mengembangkan pengetahuannya tentang bahasa visual, teori, dan sejarah filem yang justru kerap terabaikan di sejumlah forum pertemuan komunitas. Topiknya melompat, katakanlah, lebih berfokus pada manajemen produksi profesional atau manajemen promosi dan publikasi satu arah: komunitas filem terancam bergeser posisinya sebagai hanya ruang pra-industri.<\/span><\/p>\n

Dalam penentuan bahasa sinema kita, atau bahasa sinema secara lebih global, aktivisme komunitas sesungguhnya memiliki potensi kuat dan peran yang teramat penting. Ragam inisiatif mulai dari aksi produksi, distribusi, eksebisi, hingga edukasi filem yang digagas sejumlah komunitas telah mengambil peran strategis.\u00a0Strategis dalam bingkaian yang memperlihatkan bahwa aksi berkomunitas para pegiatnya tidak terlepas dari konteks posisinya dalam masyarakat, berlandaskan hasrat berbagi dan berorientasi pendidikan.\u00a0Dengan demikian mereka semakin memantapkan demarkasinya dari kultur industri. Mengkritisi kultur dominan, komunitas bergerak dengan \u201ccara tersendiri\u201d sesuai kebutuhan dan kemampuan anggotanya. Kemudian melalui aktivitasnya itu komunitas menjadi fasilitator dalam upaya mempertemukan kepentingan publik yang lebih luas, menggunakan kultur bersinema. Konsistensi dalam aksi-aksi berkomunitas yang demikian membuat kita dapat membayangkan masa depan sinema kita: sinema yang lebih bersifat emansipatif dan empatik.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532951465665{margin-bottom: 0px !important;}”]Space for film activism such as film community grows continuously in various locations. This increasing number of communities echoes the possibility of new patterns in our cinematic discourse. The community needs to consistently develop its knowledge of visual languages, film theories, and film histories that are often overlooked in a number of community forums to strengthen its bargaining power. The topics jump, let’s say, more focused on professional production management or promotional management and one-way publications: the film community is threatened to shift its position as just a pre-industrial space.<\/span><\/p>\n

The community activism actually has a strong potential and a very significant role in determining our language of cinema, indeed the language of cinema in a more global context. Various initiatives such as film production, distribution, exhibition, and education by communities have taken a strategic role. Strategic in the framework which shows that the action of the community of its activists is inseparable from the context of its position in society, based on the passion of sharing and education-oriented. Thus they strengthen its demarcation of industrial culture. Based on its members’ needs and capabilities, community moves with “its own way” in criticising the dominant culture. Then through its activities, community becomes a facilitator in attempting to meet the wider public interest, using the cinematic culture. Consistency in such community actions enables us to imagine the future of our cinema.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_accordion][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Panellists”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8123″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532918218806{margin-bottom: 0px !important;}”]Findo Bramata Sandi<\/strong> (Perawang, 1991) adalah seorang pegiat filem, salah satu pendiri Relair Cinema. Komunitas Relair Cinema didirikan tanggal 16 Agustus tahun 2015. Pada awalnya, komunitas ini merupakan unit kegiatan mahasiwa di Universitas Andalas, tapi sejak tahun 2018 Relair Cinema menjadi komunitas independen non-profit. Nama ‘Relair’ diambil dari nama filem pertama mereka yang berjudul Rel Air<\/em> (2016). Komunitas ini didirikan sebagai wadah pengembangan pengetahuan seputar media audio-visual, berfokus pada produksi, penelitian, dan apresiasi filem.\u00a0Findo juga merupakan Direktur Andalas Film Exhibition 2017 dan Programmer Sumbar Film Festival 2018. Ia juga pernah menjadi programmer untuk Bioskop Samotra (2014); sebuah program distribusi filem lokal dan filem-filem yang tidak diputar di jaringan bioskop komersil\u00a0yang berbasis di Padang, Sumatera Barat.\u00a0<\/strong>Rel Air <\/em>(2016) mendapat penghargaan sebagai Best Documentary Film pada Bandung Independent Film Festival 2016.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532918369550{margin-bottom: 0px !important;}”]Findo Bramata Sandi<\/strong> (Perawang, 1991) is a film activist, one of the founders of Relair Cinema. The Relair Cinema collective established on August 16, 2015. It started as a student activity unit at Andalas University, since 2018 Relair Cinema has become an independent non-profit collective. Relair’s name is taken from their first film entitled Rel Air (2016). This community established as a forum for the development of knowledge about audiovisual media, focusing on production, research and film appreciation. He is also the director of Andalas Film Exhibition 2017 and Programmer of West Sumatra Film Festival 2018. He has been a programmer for Samotra Cinema (2014); a local film distribution program that not screened on a commercial cinema, based in Padang, West Sumatra. Rel Air (2016) has been awarded as Best Documentary Film at the Bandung Independent Film Festival 2016.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8124″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532918465278{margin-bottom: 0px !important;}”]Dini Adanurani <\/strong>(1998) adalah seorang mahasiswa jurusan Filsafat, Fakultas Ilmu Budaya, Universitas Indonesia. Di kampusnya, ia terlibat aktif sebagai content writer <\/em>di UKM Sinematografi UI. Sebagai penulis, topik-topik yang menarik perhatiannya adalah topik seputar filem, buku, kehidupan dan budaya populer. <\/em>Selain menulis di Sinematografi UI, ia juga menulis untuk Deadpool UI, sebuah komunitas kajian budaya populer dan narasi alternatif mahasiswa Universitas Indonesia, dan jesuismager.wordpress.com. <\/em>Ia juga seorang pembuat filem. Sebagai sutradara, filemnya antara lain Noda <\/em>(2018), Pintu<\/em> (2016), dan Tiada <\/em>(2016); ia pernah memproduseri filem Underneath the Flood <\/em>(2015) bersama Cinematography Club SMA Santa Theresia dan menjadi direktur artistik untuk filem Angsa Origami <\/em>(2017). Di UI Film Festival 2018 yang diselenggarakan Sinematografi UI, Dini berperan sebagai wakil kepala program pemutaran filem.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532918541061{margin-bottom: 0px !important;}”]Dini Adanurani<\/strong> (1998) is a student majoring in Philosophy, Faculty of Humanities, University of Indonesia. On campus, she actively involved as a content writer in SME Cinematography UI. As a writer, her interest lies in the topics about films, books, life and popular culture. Besides writing in UI Cinematography, she also writes for Deadpool UI, a community of popular cultural studies and alternative narratives, and in her blog; jesuismager.wordpress.com. He is also a filmmaker. As a director, her films include Noda<\/em> (2018), Pintu<\/em> (2016), and Tiada<\/em> (2016); she once produced the Underneath the Flood<\/em> (2015) film with Cinematography Club of Santa Theresia High School and became artistic director for Angsa Origami<\/em> (2017) film. In the UI Film Festival 2018, held by Cinematography UI, Dini is a deputy head of film screening program.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8125″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532918719677{margin-bottom: 0px !important;}”]Rachmat Hidayat Mustamin<\/strong> adalah seorang sutradara filem, penulis, penyair, performer, dan seniman. Dia lulus dari Universiti Kebangsaan Malaysia pada tahun 2014. Sejak tahun 2017, ia menempuh pendidikan masternya di Program Penciptaan Film Pascasarjana, Institut Seni Indonesia Surakarta. Ia juga adalah seorang kontributor di Kinotika, sebuah komunitas yang mengorganisir pemutaran dan lokakarya filem, dan Direktur Program di Imitation Film Project, sebuah komunitas dan laboratorium filem yang berfokus dalam pembuatan program dan filem alternatif, keduanya berbasis di Makassar, Sulawesi Selatan. Filem-filem pendeknya antara lain Ziarah <\/em>(2015), A Tree Growing Inside My Head <\/em>(2016), dan The End <\/em>(2016). Filem pendeknya yang terakhir Blues Side on The Blue Sky <\/em>(2018) pernah diputarkan di Akademi ARKIPEL 2018. Dia juga telah menerbitkan sejumlah buku, antara lain\u00a0Hujan Bakawali Di Rumah Tuhan<\/em> (Rumah Ripta, 2018) \u2013 Anthology, Origins: A Bilingual Anthology of Indonesian Writing <\/em>(Bitread, 2017) \u2013 Anthology, Kesibukan Mencatat Bayangan Di Dalam Rumah\u00a0<\/em>(Selfpublishing, 2017), Merelakan Diri Terbakar\u00a0<\/em> (Indie Book Corner, 2017) \u2013 Poetry Collection\u00a0, dan Benang Ingatan\u00a0<\/em>(Indie Book Corner, 2016) \u2013 Anthology.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532918821603{margin-bottom: 0px !important;}”]Rachmat Hidayat Mustamin<\/strong> is a film director, writer, poet, performer and artist. He graduated from National University Of Malaysia in 2014. Since 2017 he has taken his master’s at the Indonesia Institute of The Arts Surakarta (Masters in filmmaking). He is also a contributor in Kinotika, a community is organising film screening and workshops, and Program Director at Imitation Film Project, a community and mini creative film development lab that focuses on the making of alternative programs and films, both based in Makassar, South Sulawesi. His short films include Ziarah<\/em> (Pilgrimage) (2015), A Tree Growing Inside My Head<\/em> (2016), and The End<\/em> (2016). His last short film Blues Side on The Blue Sky<\/em> (2018) has been screened at Akademi ARKIPEL 2018. He has also published a number of books such as Hujan Bakawali Di Rumah Tuhan<\/em> (Rumah Ripta, 2018) \u2013 Anthology, Origins: A Bilingual Anthology of Indonesian Writing<\/em> (Bitread, 2017) \u2013 Anthology, Kesibukan Mencatat Bayangan Di Dalam Rumah<\/em> (Selfpublishing, 2017), Merelakan Diri Terbakar<\/em>\u00a0(Indie Book Corner, 2017) \u2013 Poetry Collection, and Benang Ingatan<\/em> (Indie Book Corner, 2016) \u2013 Anthology.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”Moderator”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_single_image image=”8126″ img_size=”large”][\/vc_column][vc_column width=”3\/4″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532918997904{margin-bottom: 0px !important;}”]Dhuha Ramadhani<\/strong> (1995) adalah lulusan Kriminologi, Fakultas Ilmu Sosial dan Ilmu Politik, Universitas Indonesia. Ia merupakan anggota Forum Lenteng dan bertanggung jawab sebagai pengurus harian program AKUMASSA. Tahun 2017, ia menjadi salah satu partisipan Akademi ARKIPEL, angkatan pertama, untuk kategori penulis\/kritikus filem. Kini, ia juga merupakan partisipan Milisifilem Collective yang berfokus pada estetika pembuatan filem.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1532919031094{margin-bottom: 0px !important;}”]Dhuha Ramadhani<\/strong> (1995) graduates from the Department of Criminology, Faculty of Social and Political Sciences, University of Indonesia. He is a member of Forum Lenteng as one of the participants for AKUMASSA program. In 2017, he became one of the ARKIPEL Academy\u2019s participants, the first batch, for a category of writer\/ film critic. Now, he is also the participant of Milisifilem collective focusing of the aesthetic of filmmaking.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Here is the line-up of Forum Festival 2018, ARKIPEL homoludens – 6th Jakarta International Documentary and Experimental Film Festival. 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