{"id":8374,"date":"2018-07-31T23:20:09","date_gmt":"2018-07-31T16:20:09","guid":{"rendered":"http:\/\/arkipel.org\/?p=8374"},"modified":"2018-08-01T03:33:28","modified_gmt":"2018-07-31T20:33:28","slug":"arkipel-homoludens-international-competition-08","status":"publish","type":"post","link":"https:\/\/arkipel.org\/arkipel-homoludens-international-competition-08\/","title":{"rendered":"International Competition – 08"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1533052617892{margin-bottom: 0px !important;}”]\n
Host: Afrian Purnama<\/strong><\/p>\n Sunday, August 12, 2018 | 01:00 pm | GoetheHaus J\u00e1t\u00e9kok adalah kumpulan gubahan komposisi musik untuk piano yang diciptakan oleh Gy\u00f6rgy Kurt\u00e1g, seorang komposer dan pianis asal Hungaria. Volume I dibuat tahun 1973 dan yang terakhir Volume IX di tahun 2017. Dalam bahasa Hungaria, J\u00e1t\u00e9kok<\/i> berarti permainan, diciptakan untuk tujuan pedagogikal dan berupaya untuk \u201cmenangkap esensi spontanitas yang dimiliki anak-anak\u201d.(1)<\/p>\n J\u00e1t\u00e9kok<\/i> adalah contoh yang baik bila kita membicarakan konsep ludic<\/i>, yang terkandung dalam tema ARKIPEL tahun ini, \u201cHomoludens\u201d(2). Beberapa gubahan J\u00e1t\u00e9kok<\/i> dimainkan oleh dua orang dalam satu piano di mana pianis satu merespon suara yang dimainkan [oleh] pianis lainnya dengan spontan tanpa terikat oleh aturan konstruksi musik yang sudah terstandarisasi. Dengan definisi ini, kita bisa menganggap J\u00e1t\u00e9kok<\/i> sebagai bentuk eksperimentasi, bentuk baru dalam memainkan instrumen musik, khususnya piano, dengan cara bermain-main dengan medium tersebut.<\/p>\n Konsep bermain (dan eksperimentasi) di sini tentu bersamaan dengan pemahaman terhadap konstruksi yang sudah mapan sebelumnya. Eksperimentasi yang dilakukan oleh Gy\u00f6rgy Kurt\u00e1g dimaksudkan untuk memantik keceriaan terhadap instrumen piano\u2014bermain piano demi keasikan bermain itu sendiri\u2014bukan menciptakan suatu olahan ritmis yang terstruktur. Piano sebagai sebuah instrumen bunyi, sehingga di balik konsep bermain, J\u00e1t\u00e9kok<\/i> memiliki suatu unsur yang radikal dan progresif.<\/p>\n Memahami J\u00e1t\u00e9kok<\/i> menjadi landasan awal untuk melihat kedua filem dalam bingkaian kuratorial ini. Dua filem di sini, memiliki semangat yang sama dalam mengolah pokok ide, walaupun keduanya mungkin tidak terlihat serupa di permukaan. Baik A Room with a Coconut View<\/i> maupun Tremor<\/i> mengolah ide eksperimentasi untuk menangkap sesuatu yang radikal, baik dalam bentuk estetik maupun tematik. Eksperimentasi menjadi eksplorasi terhadap medium untuk menemukan kemungkinan-kemungkinan lain dari bahasa sinematik yang sudah baku, walaupun pada akhirnya terdapat percabangan tentang bagaimana eksperimentasi itu dilakukan.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533053569727{margin-bottom: 0px !important;}”]\n J\u00e1t\u00e9kok is a series of musical composition arrangement for piano composed by Gy\u00f6rgy Kurt\u00e1g, a Hungarian composer and pianist. Volume I was composed in 1973 and the last series Volume IX in 2017. In Hungarian, J\u00e1t\u00e9kok <\/i>means game, created for a pedagogical purpose and aims to \u201ccapture the essence of kids\u2019 spontaneity\u201d (1).<\/span><\/p>\n J\u00e1t\u00e9kok <\/i>is an excellent example as we talk about the concept of ludic, embodied in Arkipel\u2019s theme this year, \u201cHomoludens\u201d (2). <\/i>Few of J\u00e1t\u00e9kok <\/i>arrangement are\u00a0<\/span>performed by two persons with a piano as one of them correspond the sound performed by the other pianist spontaneously without being restricted by standardizes music construction. Following this definition, we could consider J\u00e1t\u00e9kok <\/i>as experimentation, a new form of performing a musical instrument, especially piano, by being playful with the medium.<\/span><\/p>\n The concept of being playful (and experimentation) here indeed goes along the understanding towards the formerly established construction. The experimentation performed by Gy\u00f6rgy Kurt\u00e1g was aimed to trigger the joy towards piano instrument\u2014 playing the piano for the passion of playing itself\u2014 rather than creating a structurized rhythmic production. Piano as a sound instruments, so that beyond the playful concept of J\u00e1t\u00e9kok<\/i>, owns something radical and progressive.<\/span><\/p>\n To understand J\u00e1t\u00e9kok<\/i> becomes a preliminary conception to see the two films in this curatorial framework. Both of them have a similar spirit in elaborating their main ideas, although both perhaps look dissimilar at the surface. Both A Room with a Coconut View <\/i>and Tremor <\/i>develops their experimentation ideas to capture something radical, either in aesthetic or thematic. The experimentation becomes an exploration toward the medium to figure out other possibilities from the usual cinematic language, although in the end there is a bifurcation on how the experimentation is exercised.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533053493459{margin-bottom: 0px !important;}”]\n (1). Sallis, F. Centre and Periphery, Roots and Exile: Interpreting the Music of Istva\u0301n Anhalt, Gyo\u0308rgy Kurta\u0301g and Sa\u0301ndor Veress. Waterloo<\/i>, Ontario: Wilfrid Laurier University Press, 2011.<\/p>\n (2)\u00a0Istilah \u2018Homo Ludens\u2019 merujuk pada buku karya Johan Huizinga, seorang ahli sejarah asal Belanda, yang ditulis pda tahun 1938 dengan judul yang sama. Dalam buku tersebut, Huizinga mewacanakan bahwa elemen bermain dalam kebudayaan dan masyarakat sebagai sebuah elemen yang penting dan dibutuhkan keberadaannya.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533053617658{margin-bottom: 0px !important;}”]\n (1) Sallis, F.\u00a0 <\/span>Centre and Periphery, Roots and Exile: Interpreting the Music of Istva\u0301n Anhalt, Gyo\u0308rgy Kurta\u0301g and Sa\u0301ndor Veress<\/i>. Waterloo, Ontario: Wilfrid Laurier University Press, 2011.<\/span><\/p>\n (2) The term Homo Ludens <\/i>refers to the book of Johan Huizinga, a Dutch historian, who wrote at the same title in 1938. Huizinga proposes that the playful element in culture and society as a significant and necessary element.<\/span><\/p>\n[\/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=”8243″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533052860998{margin-bottom: 0px !important;}”]\n Filmmaker\u00a0<\/em>Annik Leroy<\/strong> (Belgium) 92 min, b&w, stereo & 5.1, 16 mm to HD video, 4:3, 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_1533052895144{margin-bottom: 0px !important;}”]\n Empat suara: Pier Paolo Pasolini, Ingeborg Bachmann, Fernando Nanneti, dan Barbara Suckf\u00fcll, serta suara piano yang hadir di antaranya. Mereka membicarakan perang, kekerasan, dan cara bertahan dari mimpi buruk tersebut. Visual filem menunjukan kontras dunia antara peradaban manusia dan lanskap bebatuan; antara kehidupan dan kematian.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533052904601{margin-bottom: 0px !important;}”]Four voices: Pier Paolo Pasolini, Ingeborg Bachmann, Fernando Nanneti and Barbara Suckf\u00fcll, as well as the sound of piano in-between. They talk about war, violence and how to survive from those nightmares. The visual of the film shows a contrast world between human civilization and the landscape of rocks; between life and death.<\/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=”8375″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533052995083{margin-bottom: 0px !important;}”]\n Annik Leroy <\/b>(1953) lahir di Brussels. Dia merupakan seorang pembuat filem Belgia yang saat ini tinggal dan bekerja di Brussels. Dia juga membuat karya seni kontemporer (filem dan instalasi video, fotografi) dan mengajar di ERG dan Hogeschool Sint – Lukas<\/i> (Brussels).<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533053017673{margin-bottom: 0px !important;}”]\n Annik Leroy<\/b> (1953) was born in Brussels. She is a Belgian filmmaker who currently living and working in Brussels. She also pursues a contemporary work of art (film and video installations, photography) and teaches at ERG and Hogeschool Sint – Lukas (Brussels).<\/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=”1533053639663-030617b9-de0b”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8242″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533053745760{margin-bottom: 0px !important;}”]\n Filmmaker\u00a0<\/em>Tulapop Saenjaroen<\/strong> (Thailand) 29 min, color, 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_1533053767028{margin-bottom: 0px !important;}”]\n Percakapan yang dilakukan oleh humas hotel bernama Tanya dan seorang turis berbahasa Inggris yang dimediasikan secara digital oleh suara perempuan dan laki-laki. Filem ini mengkritik kecenderungan teknologi digital dengan merefleksikan kembali bentuk visual yang banal dan artifisial. Bentuk visual yang bisa diproduksi siapapun di internet.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533053779337{margin-bottom: 0px !important;}”]The conversation of a hotel\u2019s PR named Tanya and an English-speaking tourist was digitally mediated by the voices of woman and man. This film criticizes the tendency of digital technology by re-reflecting the banal and artificial visual form. A visual form that anyone can produce on the internet.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533053640048-ab0e7db3-94b5″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8380″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533053798327{margin-bottom: 0px !important;}”]\n Tulapop Saenjaroen<\/b> <\/i>adalah seorang seniman dan pembuat filem yang tinggal di Thailand. Tulapop memperoleh gelar MA dalam program Aesthetics and Politics<\/i> di CalArts. Dia juga bekerja sebagai produser untuk karya Anocha Suwichakornpong berjudul By the Time It Gets Dark. <\/i>Ia telah berpartisipasi dalam berbagai pameran dan festival filem.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533053820554{margin-bottom: 0px !important;}”]\n Tulapop Saenjaroen<\/strong> is an artist\/filmmaker based in Thailand. Tulapop holds an MA in Aesthetics and Politics program at the CalArts. He also worked as an associate producer for Anocha Suwichakornpong\u2019s \u201cBy the Time It Gets Dark\u201d. She has participated in various exhibitions and film festivals. Afrian Purnama\u00a0adalah 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_1533053100980{margin-bottom: 0px !important;}”]Afrian Purnama\u00a0<\/strong>(Jakarta, 1989) is a filmmaker, critic, and curator, a member of Forum Lenteng and one of the main authors at\u00a0Jurnal Footage<\/em>\u00a0(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><\/p>\n Afrian\u00a0Purnama is\u00a0one of the selector members of the ARKIPEL\u00a0homoludens.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":" J\u00e1t\u00e9kok is a series of musical composition arrangement for piano composed by Gy\u00f6rgy Kurt\u00e1g, a Hungarian composer and pianist. Volume I was composed in 1973 and the last series Volume IX in 2017. In Hungarian, J\u00e1t\u00e9kok means game, created for a pedagogical purpose and aims to \u201ccapture the essence of kids\u2019 spontaneity\u201d<\/p>\n","protected":false},"author":1,"featured_media":8217,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"International Competition - 08: Ludic and Experimentation","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
\nThursday, August 16, 2018 | 01:00 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_1533053523501{margin-bottom: 0px !important;}”]\nTREMOR \u2013 Es ist immer Krieg<\/strong><\/h2>\n
\nInternational Title<\/em>\u00a0\u00a0TREMOR \u2013 Es ist immer Krieg<\/strong>
\nCountry of Production<\/em>\u00a0\u00a0Belgium<\/strong>
\nLanguage<\/em>\u00a0\u00a0German, Italian, Dutch, Icelandic, French<\/strong>
\nSubtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\nA Room with a Coconut View<\/strong><\/h2>\n
\nInternational Title<\/em>\u00a0\u00a0A Room with a Coconut View<\/strong>
\nCountry of Production<\/em>\u00a0\u00a0Thailand<\/strong>
\nLanguage<\/em>\u00a0\u00a0Thai, English<\/strong>
\nSubtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n
\n<\/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=”8364″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533053074789{margin-bottom: 0px !important;}”]Afrian Purnama\u00a0<\/strong>(Jakarta, 1989) adalah kritikus, kurator, dan pembuat filem, anggota Forum Lenteng, dan penulis utama di\u00a0Jurnal Footage<\/em>\u00a0(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.<\/p>\n