{"id":8205,"date":"2018-07-31T17:14:32","date_gmt":"2018-07-31T10:14:32","guid":{"rendered":"http:\/\/arkipel.org\/?p=8205"},"modified":"2018-07-31T23:32:53","modified_gmt":"2018-07-31T16:32:53","slug":"arkipel-homoludens-international-competition-02","status":"publish","type":"post","link":"https:\/\/arkipel.org\/arkipel-homoludens-international-competition-02\/","title":{"rendered":"International Competition – 02"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1533032395958{margin-bottom: 0px !important;}”]\n

Refusing Singularity
\n<\/strong>Menolak Penunggalan<\/em><\/h1>\n

Host: Akbar Yumni<\/strong><\/p>\n

Friday, August 10, 2018 | 01:00 pm | Kineforum
\nSunday, August 12, 2018 | 07:00 pm | Kineforum<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_accordion style=”modern” spacing=”2″ 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” title=”Read Curatorial Essay Here” tab_id=”1532963411840-b5b836d5-3d74″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533027563542{margin-bottom: 0px !important;}”]Pertanyaan-pertanyaan seputar medium terkait dengan arsip di masa lalu menjadi begitu krusial, bahwa pengertian \u2018representasi\u2019 pada derajat tertentu juga mengalami penurunan kualitas yang sebenarnya secara tidak langsung juga mempertanyakan pandangan representasionalisme itu sendiri. Penurunan kualitas medium bisa dipengaruhi oleh faktor eksternal, seperti model penyimpanan dan kebijakan politik tertentu yang melingkupinya, serta faktor internal, ketika medium di generasi sebelumnya mengalami tranformasi dalam spasial medium kekiniaan, sebagaimana perpindahan analog menuju digital. Ketidakabadian medium yang dimungkinkan dalam sinema menjadikan sejarah berada di persimpangan, karena setidaknya derajat representasi di masa lalu yang dimungkinkan untuk dipiuhkan dari kodrat mediumnya.<\/p>\n

Di sisi lain, keserentakan adalah hal yang dimungkinkan dalam medium sinema. Sebagaimana membayangkan gerak dalam jukstaposisi gambar pada tradisi formalisme sinema di masa analog, hubungan antara masa lalu dan kekinian bisa dibayangkan secara serentak dalam sinema karena arus kesadaran (stream of consciousness)<\/em> ala Ulysses-nya James Joyce yang dimungkinkan melalui gerak montase. Moda naratif ala Ulysses itu kini mengalami perkembangannya, yang bisa jadi lebih subtil karena perbincangan dan kegelisahan terhadap masa lalu yang menjadi semakin kompleks ketika keniscayaan generasi baru selalu lahir, di mana ia juga selalu menata kembali formasi baru dalam melihat masa lalu. Lahirnya generasi baru bukan berarti menambah jarak yang makin lebar pada sebuah narasi tertentu tentang masa lalu, karena setiap generasi selalu memproduksi moda narasinya yang sekaligus selalu mengubah pengertian masa lalu itu sendiri.<\/p>\n

Dalam perkembangannya, sinema selalu mencari jalan keluarnya sendiri untuk menggambarkan realitas. Sebagaimana sinema, humanisme pun memiliki kecerdasannya di setiap zaman, di mana pengertian-pengertian humanisme tersebut selalu berusaha mengalami perluasan ketika terikat dengan spasialitas yang selalu berubah. Humanisme dalam sinema adalah humanisme yang bisa menjangkau kekiniannya. Sebagaimana siasat-siasat narasi tentang humanisme yang tidak lagi berpusat dalam pengertian manusia secara an sich,<\/em> maka pengertian kebertubuhan pun juga mengalami perkembangan dan tidak lagi berpusat pada subjek manusia itu sendiri. Tubuh dalam kekiniaannya tidak lagi sesuatu yang otonom terhadap situasi yang melingkupinya, maka berpikir juga tidak lepas dari kebertubuhan dan kebertubuhan juga tidak luput dari kebersituasian. Hal ini membawa kisah-kisah tentang humanisme diperluas melalui subjek di luar manusia sebagaimana kita pernah mengenal model fabel. Namun, subjek di luar manusia, misalnya burung, ini tidak lagi diantroposentriskan. Citra tentang burung tidak lagi digesturkan ala manusia, namun melalui bingkaian yang bersifat dokumenter yang memperlihatkan pantulan-pantulan kehidupan sosial manusia pada sekitaran kisah sepasang burung. Ketika dua dunia berdampingan, subjek di luar manusia tersebut justru memiliki gambaran ideal tentang humanisme, bahkan ia terus bertahan tanpa merasa terganggu di tengah hiruk-pikuk keseharian sosial manusia.<\/p>\n

Dari berbagai pendekatan baru yang dimungkinkan hari ini pada sinema, kekinian sinema pada dasarnya juga tidak meninggalkan tradisi sebelumnya. Seperti linearitas narasi yang penggunaannya masih dimungkinkan secara baru dan kini, ketika digunakan untuk mendapatkan impresi yang berbeda tentang sebuah tema tertentu. Kisah pengalaman-pengalaman subtil tentang isu-isu feminisme, membutuhkan sebuah keintiman dan misteri tersendiri ketika mengangkat rutinitas posisi sosial yang dialami oleh seorang ibu. Rutinitas tersebut mendapatkan keintiman dan subtilitasnya melalui sebuah bentuk linier secara narasi, namun kesinambungannya tidak lagi menunjukan sebuah rangkaian kasualitas yang sistematis, karena mencoba pencaharian akan pengalaman subtil dan intim dari sebuah rutinitas. Durasi menjadi sebuah kesadaran karena dilingkupi oleh penyingkapan akan subtilitas tersebut.<\/p>\n

Dua di antara empat filem dalam program kompetensi ini adalah perihal bagaimana hubungan sejarah dari korpus medium arsipnya, melalui penghadiran peristiwa adu banteng pada masa transisi pasca kekuasaan Francisco Franco pada filem Suit of Lights,<\/em> serta sindrom identitas tentang masa lalu koloni yang juga dialami oleh penjelajah melalui generasi masa kini dalam De Madrugada (At Dawn<\/em>). Sementara, dua filem berikutnya adalah bagaimana sinema dan sistem narasinya membentuk semacam cara baru melihat feminisme melalui keintiman shot<\/em> dan peristiwa seputar pengalaman seorang ibu pasca melahirkan yang ada pada Ordinary Time,<\/em> dan kemungkinan baru dalam memandang humanisme pada Open Skylight<\/em> melalui kisah sepasang merpati yang hidup di jendala-jendela apartemen penduduk. ***[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533030048151{margin-bottom: 0px !important;}”]Questions surrounding a medium with regard to archives from the past have become very crucial, that the definition of \u201crepresentation\u201d to a certain extent abates, indirectly posing a question to representationalism itself. Medium\u2019s quality decline can be influenced by external factors, such as the storage model and certain policies surrounding it, including the internal factors when the medium in the previous generation transforms itself into the spatiality of the contemporary medium, just like the analogue transition into the digital. A medium\u2019s transient nature, feasible in cinema, puts history on a crossroads as the representational degree of the past is likely to be distorted from its medium\u2019s nature.<\/span><\/p>\n

On the other side, simultaneity is something possible in the medium of cinema. Just as movements in the juxtaposition of pictures in the formalist tradition of cinema in the analogue era, the relations between the past and the present can be imagined simultaneously in the cinema due to the stream of consciousness \u00e0 la <\/em>James Joyce\u2019s Ulysses<\/em> allowed by montage. Now, this narrative mode \u00e0 la Ulysses <\/em>develops in more subtle ways because of conversations and anxiety over the past become more complex as a new generation\u2019s necessities are born, re-organizing a new formation in seeing its past. This birth of a new generation doesn\u2019t necessarily add a wider gap to a certain narrative about the past, since each generation produces its narrative mode that always changes the definition of the past itself at once.<\/span><\/p>\n

In its development, cinema always finds its recourse in depicting reality. And just like cinema, humanism also has its own senses of the times, when its definitions undergo extensions in terms of the ever-changing spatiality. Humanism in cinema is one that can outreach its contemporaneity, likewise the narratives\u2019 manoeuvrings around humanism that no longer centers on the definition of humans an sich,<\/em> the definition of embodiedness also grows and no longer centers on the human subject itself. Body in its contemporaneity is no longer something autonomous of its encircling circumstances; thus, thinking is not detached from embodiedness, while embodiedness is not detached from situatedness. This leads to humanistic stories being expanded through subjects beyond humans, such as what we once known in fables. However, these subjects beyond human, such as Bird, is no longer anthropocentric. A bird\u2019s image is no longer set in a pose as a human, but through frame of documentary showing the reflections of human\u2019s social life around a the story of a pair of birds. When the two worlds juxtapose, the subject beyond human turns out to have an ideal image of humanism, even surviving uninterrupted in the midst of the hurly-burly of human social life.<\/span><\/p>\n

Of all the new approaches allowed today in cinema, the cinema\u2019s contemporaneity basically doesn\u2019t leave behind its prior traditions, just like a narrative\u2019s linearity is still permitted in new and current ways to get different impressions about particular themes. Complicated experiences regarding feminist issues necessitate a certain intimacy and mystery in raising the routines entailing a mother\u2019s social position. These routines gain their intimacy and subtlety through a linear narrative, but the continuity no longer reveals a series of systematic causalities\u2014since it is trying to search the subtle and intimate experience of a routine. Duration becomes an awareness since it\u2019s surrounded by the revelations of subtleties.<\/span><\/p>\n

Two of four films in this competition program are about the historical relationship of an archival medium corpus through the presentation of a bullfights during the transitional era in the aftermath of Francisco Franco\u2019s reign in Suit of Lights<\/em> and identity problems with respect to a colonial past experienced by colonialists through their new generation in De Madrugada (At Dawn). <\/em>The next two are how cinema and its narrative system forms a kind of new way to see feminism in intimate shots and events surrounding a mother\u2019s experience after giving birth in Ordinary Time<\/em> and a new possibility in seeing humanism in Open Skylight<\/em> through the story of a pair of doves that live on people\u2019s apartment windows. ***<\/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=”Film List” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8219″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533030319468{margin-bottom: 0px !important;}”]\n

Traje de Luces<\/strong><\/h2>\n

Filmmaker<\/em>\u00a0 Francisca Duran (Canada)
\nInternational Title<\/em>\u00a0 Suit of Lights
\nCountry of Production<\/em>\u00a0 Canada
\nLanguage<\/em>\u00a0 English, Spanish
\nSubtitles<\/em>\u00a0 English<\/p>\n

18 min, color, stereo, 16mm, 16:9, 2018[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533054503743{margin-bottom: 0px !important;}”]Berisikan bahan baku arsip yang sudah membusuk sebagai basis dokumenter, filem ini menghadirkan rekaman 16mm tentang peristiwa adu banteng yang dibuat sekitar tahun 1975-an. Penanda waktu pembuatannya adalah sebuah kebersituasian dari transisi besar politik di Spanyol pasca Francisco Franco, yang masih menyisakan semacam kultur kekerasan di tengah era baru demokrasi Spanyol yang dijalani dengan kesulitan. Kehadiran medium menjadi penanda kekinian, karena kesimpangsiuran materinya yang sulit untuk abadi adalah persimpangan akan masa lalu yang hadir hari ini. Hubungan medium dan masa lalu, membawa pertanyaan tentang gambar fotografis: apakah ia membawa daya informasional yang terpiuhkan oleh estetika, atau sebaliknya?[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533054533501{margin-bottom: 0px !important;}”]Containing the decaying archival material as the basis of documentary, this film delivers footages of 16mm films capturing the bullfights occured in around 1975\u2019s. The period of its making is a situatedness from the great political transition in Spain after the reign of Francisco Franco, that still left some violent culture in the midst of arduous Spain\u2019s new democracy era. The presence of medium becomes a signifier of contemporaneity since its transient nature which difficult to last is the crossroads of the past’s presence in the present. \u00a0The relation of medium and the past, raises question on photographic image: does it carry informational ability distorted by the aesthetic, or vice versa<\/em>?<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532969190418-0b77954e-9992″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8220″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533030455778{margin-bottom: 0px !important;}”]Francisca Duran<\/strong> (<\/strong>1967), lahir di Santiago, Chili, adalah seniman media eksperimental yang berbasis di Toronto, Kanada. Praktik seninya mengambil pandangan kritis tentang masalah sosial, politik dan budaya melalui arsip dengan menggabungkan media digital dan analog untuk mengeksplorasi titik-titik persimpangan memori, sejarah, politik dan teknologi. Duran meraih gelar MFA di Produksi Filem dari Universitas York, Kanada.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533030481702{margin-bottom: 0px !important;}”]Francisca Duran<\/strong> (1967) was born in Santiago, Chile. She is an experimental media artist based in Toronto, Canada. Her practice takes a critical view of social, political and cultural issues through the archive by combining digital and analogue media to explore the intersection of memory, history, politics, technology. She holds an MFA in Film Production from York University, Canada.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1533030110835-66e4d7b4-ef71″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8223″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533031015332{margin-bottom: 0px !important;}”]\n

De Madrugada<\/strong><\/h2>\n

Filmmaker<\/em>\u00a0 In\u00eas de Lima Torres<\/strong> (Portugal)
\nInternational Title<\/em>\u00a0\u00a0At Dawn<\/strong>
\nCountry of Production<\/em>\u00a0 Portugal<\/strong>
\nLanguage<\/em>\u00a0 Portuguese<\/strong>
\nSubtitles<\/em>\u00a0 English<\/strong><\/p>\n

30min, colour, stereo, 2K RED, HD, 16:9, 2017[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533054587089{margin-bottom: 0px !important;}”]Kisah tentang Alice dan para saudaranya ketika berada di rumah musim panas neneknya di tepi pantai. Bingkai berisikan semacam tubuh-tubuh mereka, yang bagaikan tertambat di dalam ruang-ruang rumah, dari sudut dan dinding rumah, menyiratkan foto-foto masa lalu penjelajahan kolonial. Teks-teks pada filem ini adalah refleksi dari kehilangan identitas yang juga dialami oleh mereka, para penjelajah dari generasi nenek mereka, yang hadir seperti menambatkan tubuh Alice sebagaimana juga menambatkan tubuh antargenerasi yang terikat dengan spasialitas zaman mereka masing-masing. Filem ini semacam narasi kecil dari kesimpangsiuran identitas pascakolonial yang juga dialami oleh mereka, para penjelajah, melalui tubuh masa kini Alice.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533054601076{margin-bottom: 0px !important;}”]A story of Alice and her relatives during their stay in grandmother\u2019s summer house on the seashore. The frames containing such bodies, seem to be tied in the rooms of the house, from the corner and the wall, implying photographs of the past colonial expedition. Texts in this film is a reflection of identity loss that also occurred to those explorers from their grandmother\u2019s generation, in which its presence seems to be tying Alice\u2019s body as if to tie the bodies between generations bound by their own era\u2019s spatiality. This film is a small narrative from the transient postcolonial identity that was also experienced the explorers through the present body of Alice.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533030111310-17e3275d-32c8″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8247″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533031153953{margin-bottom: 0px !important;}”]In\u00eas de Lima Torres<\/strong> (<\/strong>1995) lahir di Set\u00fabal, Portugal. Dia lulus dari universitas di Lisbon School of Theatre and Film<\/em>, jurusan Sinema, dengan fokus Penyutradaraan. De Madrugada<\/em> adalah film kelulusannya, telah diputarkan di sejumlah festival filem. Kini ia menempuh pendidikan pascasarjana jurusan Fotografi, Lisbon Fine Arts University.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533031175987{margin-bottom: 0px !important;}”]In\u00eas de Lima Torres<\/strong> (1995) was born in Set\u00fabal, Portugal. She graduated from university at Lisbon School of Theatre and Film, majoring in Cinema, in the branch of Directing. \u201cDe Madrugada\u201dis her graduation film and has been screened in various film festivals. She is currently doing a post-graduation in Photography at the Lisbon Fine Arts University.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1533030087974-2db167f5-af2f”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8226″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533031348072{margin-bottom: 0px !important;}”]\n

Ordinary Time<\/strong><\/h2>\n

Filmmaker<\/em>\u00a0 Susana Nobre<\/strong> (Portugal)
\nCountry of Production<\/em>\u00a0 Portugal, France<\/strong>
\nLanguage<\/em>\u00a0 Portuguese<\/strong>
\nSubtitles<\/em>\u00a0 English<\/p>\n

64min, colour, stereo, HD, HD, 16:9, 2018[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533054657271{margin-bottom: 0px !important;}”]Kisah intim yang linier tentang momen-momen Marta pasca melahirkan. Filem ini berisikan fragmen-fragmen perjumpaan Marta dari para kunjungan kerabat dan keluarga pasca melahirkan, sebagai sekumpulan cerita pengalaman-pengalaman pasca melahirkan dan mengasuh bayi dari kerabat dan keluarga. Keintiman kisah menjadi sebuah gambaran tentang pergulatan feminisme yang subtil seorang ibu dalam mengasuh seorang bayi (subjek) yang baru lahir, dan relasinya dengan pasangan dan kesibukan profesi. Rangkaian rutinitas mengasuh bayi menjadi sebuah evolusi dari gambaran batin Marta itu sendiri, yang secara tersirat juga memberikan sebuah kemungkinan baru dalam melihat sebuah pergulatan feminisme.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533054672253{margin-bottom: 0px !important;}”]A linear story of Marta\u2019s postpartum intimate moments. This film is containing fragments of Marta\u2019s meetings from the visit of her family and relatives after she gave birth, as a collection of stories from the experiences of postpartum period and baby rearing from her family and relatives. The story\u2019s intimacy is a picture of the subtle feminism struggle of a mother in rearing a newborn baby (subject), and her relationship with the life-partner along with professional life. A series of baby rearing routine becomes an evolution from the inner world of Marta, which implicitly gives a new possibility in perceiving a struggle of feminism.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533030088413-08635339-492e”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8248″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533031507197{margin-bottom: 0px !important;}”]Susana Nobre<\/strong> (1974) lahir di Lisbon. Ia menerima gelar B.A. Ilmu Komunikasi dari Universitas Nova di Lisbon. Dia menyutradarai filem dokumenter serta filem-filem pendek yang telah ditampilkan dalam berbagai festival filem internasional. Sejak 2006 ia telah menjadi anggota perusahaan produksi filem Terratreme, di mana ia menjadi produser eksekutif di berbagai proyek.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533031526751{margin-bottom: 0px !important;}”]Susana Nobre<\/strong> (1974) was born in Lisbon. She received a B.A. in Communication Sciences from Lisbon\u2019s Nova University. She directed documentaries and short films that have been shown in various international film festivals. Since 2006, she has been a member of the production company Terratreme, where she has worked as an executive producer in many projects.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1533030086305-d3cd2f9a-364b”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8224″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533031702938{margin-bottom: 0px !important;}”]\n

Svetlarnik<\/strong><\/h2>\n

Filmmaker<\/em>\u00a0 Sr\u0111an Vukajlovi\u0107<\/strong> (Serbia)
\nInternational Title<\/em>\u00a0 Open Skylight<\/strong>
\nCountry of Production<\/em>\u00a0 Serbia<\/strong>
\nLanguage<\/em>\u00a0 Serbian<\/strong>
\nSubtitles<\/em>\u00a0 English<\/strong><\/p>\n

15min, colour, stereo, HD, 16:9, 2018[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533054724752{margin-bottom: 0px !important;}”]Fabel tentang bingkai-bingkai sepasang merpati di jendela-jendela apartemen. Keintiman kamera terhadap sepasang merpati menjadi semacam dunia tersendiri, atau bisa jadi berdampingan dengan kehidupan keseharian sosial masyarakat yang melingkupinya, di mana kehidupan keduanya membangun sebuah keintiman tersendiri. Sementara itu, lalu lalang keseharian masyarakat yang memantul dari suara-suara yang melingkupi lanskap jendela adalah kegaduhan yang menyiratkan bencana. Kehidupan sepasang merpati itu seperti pembayangan terhadap humanisme yang luput, meski selalu berdampingan dengan kehidupan sosial masyarakat.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533054764295{margin-bottom: 0px !important;}”]A fable on frames of a pair of doves on the apartments\u2019 windows. The camera\u2019s intimacy capturing that doves build a world of its own, or perhaps coexisting with the people\u2019s everyday life around them, where the life of those two constructs a certain intimacy. The racket of people\u2019s everyday life reflected from the voices surrounding the landscape of windows<\/span>, is a commotion signalling for a debacle. Life of those doves is like a shadow for a neglected humanism, although it is always in close proximity with the life of people.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533030086709-c74c493c-2c35″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8254″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533031836229{margin-bottom: 0px !important;}”]Srdjan Vukajlovic<\/strong> (1951) lahir di Beograd. Dia meraih gelar BFA pada tahun 1976 dan MFA pada tahun 1979, keduanya di Seni Patung, Akademi Seni Rupa Beograd. Ia adalah anggota ULUS, Asosiasi Seniman Seni Rupa Serbia sejak 1979. Ia telah berpartisipasi dalam sekitar 100 pameran bersama. Dia tinggal dan bekerja di Beograd, Serbia.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533031855595{margin-bottom: 0px !important;}”]Srdjan Vukajlovic<\/strong> (1951) was born in Belgrade. He received a BFA in 1976 and MFA in 1979, both at Belgrade Academy of the Fine Arts, Department for Sculpture. He is member of ULUS, Association of Fine Art Artists of Serbia since 1979. He has participated in about 100 group exhibitions. He lives and works in Belgrade, Serbia.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8101″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533031947367{margin-bottom: 0px !important;}”]Akbar Yumni<\/strong> (Jakarta, 1975) adalah kritikus, kurator filem, dan anggota Forum Lenteng. Ia adalah Pemimpin Redaksi Jurnal Footage (www.jurnalfootage.net). 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><\/p>\n

Akbar Yumni adalah salah satu anggota tim selektor ARKIPEL\u00a0homoludens<\/em>.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533032317818{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). 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><\/p>\n

Akbar Yumni is one of the selector members of the ARKIPEL\u00a0homoludens<\/em>.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

In its development, cinema always finds its recourse in depicting reality. 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