{"id":8309,"date":"2018-07-31T20:03:29","date_gmt":"2018-07-31T13:03:29","guid":{"rendered":"http:\/\/arkipel.org\/?p=8309"},"modified":"2018-07-31T23:37:11","modified_gmt":"2018-07-31T16:37:11","slug":"arkipel-homoludens-international-competition-o4","status":"publish","type":"post","link":"https:\/\/arkipel.org\/arkipel-homoludens-international-competition-o4\/","title":{"rendered":"International Competition – 04"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1533040093638{margin-bottom: 0px !important;}”]\n
Host: Abi Rama<\/strong><\/p>\n Friday, August 10, 2018 | 04:00 pm | Kineforum Namun, citra di sini bisa saja merupakan realitas yang terbatas dalam bingkaian, bisa juga berupa representasi, atau bahkan melenceng jauh dari kejadian sebenarnya.<\/p>\n Pada filem The Night Between Ali & I,<\/em> sang sutradara menawarkan citra reka ulang fiktif yang menampilkan salah satu peristiwa penting di Lebanon, Penyanderaan Bank of America<\/em> di Beirut, pada 18 Oktober 1973.<\/p>\n Dalam peristiwa ini, empat pemuda bersenjata dari Gerakan Revolusioner Sosialis Lebanon memasuki bank di pusat kota Beirut, dan meminta uang sepuluh juta dolar kepada pihak berwenang untuk perang Arab melawan imperialisme di kawasan itu dan untuk pembebasan beberapa tahanan politik Arab. Mereka juga meminta agar tuntutan dan manifesto mereka dipublikasikan di berbagai media.<\/p>\n Gambar-gambar dalam filem, dengan caranya sendiri, membangkitkan imajinasi tentang apa yang terjadi selama teror 26 jam. Ia menuturkan bagaimana interaksi antara para sandera dan gerilyawan bersenjata didekonstruksi secara intim ketika muncul narasi dari beberapa narasumber, seorang di antaranya adalah Amer Farrough\u2014salah satu dari 4 penyerang bank.<\/p>\n Sinema mendekonstruksi sebuah peristiwa bersejarah dengan caranya sendiri, melalui kecanggihan teknologi saat ini yang hampir dapat diakses oleh siapa pun. Ia menawarkan berbagai kemungkinan baru dalam melihat suatu peristiwa. Fungsi perekaman di sini bukanlah sebagai dokumentasi, melainkan sebagai sebuah upaya penciptaan; sebuah konstruksi akan realitas yang baru.<\/p>\n Dalam Good Tidings<\/em>, lewat kesadaran akan medium\u2014di mana kamera saat ini sangat mungkin digunakan dalam situasi yang paling intim sekalipun\u2014sang pembuat filem membaurkan batasan antara subjek dan dirinya. Tubuh-tubuh dan gestur natural di sebuah pantai Mediterania bukan dengan sengaja tampil, namun dikondisikan untuk hadir dalam bingkai. Memperlihatkan Bochra, sebuah kapal kecil yang digunakan oleh imigran Afrika untuk mencapai Eropa, \u201cThe<\/em> Promised Land\u201d<\/em>. Namun, ketika para imigran telah pergi, Bochra masih saja berada di batas antara laut dan darat sambil menjalani sejarah barunya.<\/p>\n Apa yang Anda harapkan dari sinema hari ini? Kecanggihan teknologi, special-FX,<\/em> atau narasi yang benar-benar baru? Di mana ke-hari-ini-an sinema itu sendiri ada pada pengalaman dan cara kita melihat serta memahami sinema hari ini. Sebab, sinema adalah bahasa. ***[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533055005091{margin-bottom: 0px !important;}”]Since the camera was incorporated as mobile phone feature, I never forget bringing it in my hand or my pocket. Since then, I started to be actively recording. I record anything; the important and the unimportant, the recordable and the unrecordable. People around [me] also record their history. They construct the image they would like to show on their own.<\/span><\/p>\n Yet the image here is a limited reality in a frame, it could be a representation or far deviated from the actual event.<\/span><\/p>\n In The Night Between Ali & I<\/em>, the director offers fictional reconstructed imagery that shows one of important events in Lebanon, a hostage-taking of Bank of America in Beirut, 18th October 1973.<\/span><\/p>\n In this event, four armed young men from Socialist Revolutionary Movement of Lebanon entered the bank in the city centre of Beirut and demanded ten billion dollars from the authorized party for the Arab war against imperialism in the region and for freeing several Arab political prisoners. They also asked their demand and manifesto to be published in various media.<\/span><\/p>\n Images in the film, in its own way, enacted the imaginations on what happened during the 26 hours terror. It recreates how the interaction between the hostage and the armed guerillas was deconstructed intimately all at once when the narratives from some interviewees appear, one of them was Amer Farrough, one from four persons who attacked the bank.<\/span><\/p>\n Here we could see the power of cinema in deconstructing a historical event in its own way, through recent technological advancement which is almost accessible for anyone. It offers a new possibility in looking at an event. The function of recording here is not as documentation, but as an attempt to create a new construction of reality.<\/span><\/p>\n In Good Tidings<\/em>, through consciousness towards medium \u2013 where camera today is very possible to be used even in a very intimate situation \u2013 the filmmaker blurred the boundary between subjects and himself. The bodies and natural gestures in a Mediterranean beach were not shown unintendedly, but conditioned in purpose to be present in frame. Showing Bochra, a small boat used by African immigrants to reach Europe, \u201cThe<\/em> Promised Land\u201d<\/em>. The immigrants had been gone, yet Bochra were still on the border between shore and land while undertaking its new history.<\/span><\/p>\n What do you expect from today\u2019s cinema? Technological advancement, special-FX<\/em>, or a very newly narrative? The contemporaneity of cinema itself exists in our experience and ways in looking and also understanding today\u2019s cinema. Since cinema is language. *** Filmmaker\u00a0<\/em>Nadia Hotait & Laila Hotait<\/strong> (Lebanon-Spain) 10 min, color, stereo, HD, HD, 16:9, 2016[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533040602225{margin-bottom: 0px !important;}”]\n Sebuah reka ulang fiktif dari peristiwa penting dalam sejarah kontemporer Lebanon dan Levantine: upaya penyelamatan 39 sandera di Bank Amerika di Beirut.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533040619859{margin-bottom: 0px !important;}”]A fictional reenactment of a key event in contemporary history of Lebanon and Levantine: the rescuing operation of 39 hostages at the Bank of America in Beirut.<\/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=”8317″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533040676912{margin-bottom: 0px !important;}”]\n Nadia Hotait & Laila Hotait<\/b> <\/i>adalah Hotait bersaudara asal Lebanon-Spanyol yang telah berkolaborasi dalam sejumlah filem dan instalasi video. Karya mereka telah dipresentasikan di berbagai tempat dan diputarkan di berbagai festival. Mereka menyelesaikan studi dengan beasiswa penuh, Nadia memperoleh gelar MFA di The School of Art Institute of Chicago <\/i>dan Laila memperoleh gelar MFA Filmmaking<\/i> di San Francisco State University.<\/i><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533040716734{margin-bottom: 0px !important;}”]\n Nadia Hotait & Laila Hotait\u00a0are<\/span><\/b><\/span>\u00a0Lebanese-Spanish Hotait sisters that have collaborated in several in films and video-installations. Their work has been presented in various venues and festivals. They completed studies with full scholarships: Nadia finished MFA at The School of the Art Institute of Chicago and Laila finished a\u00a0MFA\u00a0<\/span>in Filmmaking at San Francisco State University.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1533040751329-84b62066-e427″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8231″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533041083031{margin-bottom: 0px !important;}”]\n Filmmaker\u00a0<\/em>Sebastiano Luca Insinga<\/strong> (Italy) 15 min, color, stereo, 4K, 2.35:1, 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_1533041103171{margin-bottom: 0px !important;}”]\n Pantai Sisilia di Laut Mediterania, adalah surga bagi banyak kapal yang datang dari pantai Afrika. Perahu-perahu ini mencoba tak terdeteksi radar, mencoba mencapai daratan Eropa. Pada malam musim panas, Bochra tiba dengan lebih dari 130 orang di dalamnya.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533041124134{margin-bottom: 0px !important;}”]\n Sicilian shores on the Mediterranean Sea, are a haven to a lot of boats arriving from the coasts of Africa. These boats are fleeing the radar, trying to reach the European land. On a summer night, Bochra arrived with over 130 people on board.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533040751752-7a60483f-2694″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8322″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533041179233{margin-bottom: 0px !important;}”]\n Sebastiano Luca Insinga <\/i><\/b>(1984) lahir di Catania pada bulan November. Ia dibesarkan di Brescia. Kemudian dia tinggal di Reykjavik, S\u00e3o Paulo dan Milan. Saat ini berbasis di Trento sebagai pembuat film dan seniman video.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533041197297{margin-bottom: 0px !important;}”]\n Sebastiano Luca Insinga<\/b>\u00a0 <\/span>(1984) was born in Catania on November. He grew up in Brescia. Then he lived in Reykjavik, S\u00e3o Paulo and Milan. Currently based in Trento as Filmmaker and Video Artist.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/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=”8323″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533042090835{margin-bottom: 0px !important;}”]Abi Rama<\/strong> (Lahir pada September 1989) Menyelesaikan studi komunikasi di Institut Ilmu Sosial dan ilmu Politik Jakarta. Membuat \u2018komikpinter\u2019 sejak 2009. Seniman multimedia ini juga membentuk kasetan, duo disc jockey yang menggunakan kaset sebagai materi utamanya. Bersama rekan-rekannya di Visual Jalanan, ia mendirikan Klub Karya Bulu tangkis\u2014ruang eksperimentasi dan eksplorasi teknologi, visual, budaya kota, dan anak muda urban. Pada 2015, menjadi salah satu kurator dalam pameran \u2018Peradaban Sinema dalam Pameran #2\u2014Jajahan Gambar Bergerak: antara Fakta dan Fiksi\u2019 sepanjang perhelatan \u2018ARKIPEL Grand Illusion: International Documentary & Experimental Film Festival\u2019. Juga sebagai salah satu kurator pada pameran \u2018Visual Jalanan: Bebas Tapi Sopan\u2019 dalam fringe event Jakarta Biennale 2015 di Galeri Nasional Indonesia.<\/p>\n <\/p>\n Abi Rama 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_1533042150539{margin-bottom: 0px !important;}”]Abi Rama<\/strong> (b. September 1989) was involved in Kampung Segart Studio while completing his study in communication faculty at the Institute of Social and Political Sciences, Jakarta. Making ‘komikpinter<\/span>\u2019 since 2009. As multimedia\u00a0<\/span>artist, he also forms\u00a0Kasetan<\/span>, a disc jockey duo that uses cassette tapes as the main medium. With his fellow artists at Visual Jalanan, he also forms Klub Karya Bulu Tangkis, a space for experimentations and explorations of technology, visual, cultural, urban culture and urban youth. qIn 2015, he was one of the curators for the exhibition \u2018Cinema Civilization in Exhibition #2 \u2013 Moving Image Colony: Between Fact and Fiction\u2019, during the \u2018ARKIPEL Grand Illusion: the International Documentary & Experimental Film Festival\u2019. Also a curator for \u2018Visual Jalanan: Bebas Tapi Sopan\u2019 in the National Gallery of Indonesia as fringe\u00a0<\/span>event of Jakarta Biennale 2015.<\/span><\/p>\n Abi Rama is one of the selector members of the ARKIPEL homoludens.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":" ince the camera was incorporated as mobile phone feature, I never forget bringing it in my hand or my pocket. Since then, I started to be actively recording. I record anything; the important and the unimportant, the recordable and the unrecordable. People around [me] also record their history. They construct the image they would like to show on their own. <\/p>\n","protected":false},"author":1,"featured_media":8207,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"International Competition - 04: Language at Intimate View","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[479,344],"tags":[480,481,192],"jetpack_publicize_connections":[],"yoast_head":"\n
\nSaturday, August 11, 2018 | 04:00 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_1533040258021{margin-bottom: 0px !important;}”]Sejak kamera disertakan sebagai fitur telepon selular, saya tak pernah lupa membawanya dalam genggaman ataupun di saku celana. Sejak saat itu pula saya mulai rajin merekam. Merekam apa saja. Yang penting maupun tidak penting, yang boleh maupun tidak boleh direkam. Orang-orang sekitar juga merekam sejarahnya sendiri. Mereka membangun sendiri citra yang ingin ditampilkan.<\/p>\n
\n<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner][\/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=”8232″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533040586399{margin-bottom: 0px !important;}”]\nThe Night Between Ali and I<\/strong><\/h2>\n
\nInternational Title<\/em>\u00a0\u00a0The Night Between Ali and I
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Spain
\n<\/strong>Language<\/em>\u00a0\u00a0English
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\nLa Buona Novella<\/strong><\/h2>\n
\nInternational Title<\/em>\u00a0\u00a0Good Tidings
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Spain
\n<\/strong>Language<\/em>\u00a0\u00a0Italian
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n