{"id":8493,"date":"2018-08-01T21:23:09","date_gmt":"2018-08-01T14:23:09","guid":{"rendered":"http:\/\/arkipel.org\/?p=8493"},"modified":"2024-06-04T18:46:33","modified_gmt":"2024-06-04T11:46:33","slug":"curatorial-program-01","status":"publish","type":"post","link":"https:\/\/arkipel.org\/curatorial-program-01\/","title":{"rendered":"Curatorial Program – 01"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1533128590899{margin-bottom: 0px !important;}”]\n

Of Conspiration <\/strong>a<\/strong>nd Resuscitation
\n<\/strong>Tentang Konspirasi dan Resusitasi<\/em><\/h2>\n

Curator: Azar Mahmoudian
\n<\/strong>–
\nWednesday, August 15, 2018 | 04:00 – 07:00 pm | Kineforum, Taman Ismail Marzuki<\/p>\n[\/vc_column_text][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][vc_tta_section title=”FILMWORK” tab_id=”1533128173726-9028b3c3-41c7″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8500″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533129401008{margin-bottom: 0px !important;}”]\n

I Without End<\/strong><\/h4>\n

Filmmaker<\/em>\u00a0 Laleh Khorramian<\/strong> (Iran)
\nCountry of Production<\/em>\u00a0 Iran<\/strong>
\nLanguage<\/em>\u00a0 –
\nSubtitles<\/em>\u00a0 –<\/p>\n

6:45 min, Time-lapse animation, 2010[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533130105757{margin-bottom: 0px !important;}”]Two lovers are shot in time-lapse, capturing an unexpectedly sensual drama. Caught somewhere between living and dying, the figures decay rhythmically, until all moisture is gone and their movements subside.<\/span><\/p>\n

The absurdity of fruit peel as a human metaphor brings two realities together: the physicality of the material world meets the equal force of the inner world of desire, emotion, love, intimacy, death and decay. I Without End\u00a0<\/strong><\/em>is the third installment in the short films series based on the five elements of Earth, Air, Fire, Water and Ether.\u00a0It takes fire as its inspiration, both as an energetic force and an emotional-psychological metaphor.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533129449144{margin-bottom: 0px !important;}”]Dua orang kekasih yang direkam secara time-lapse<\/em>, menghadirkan sebuah drama sensual yang tak terduga. Terperangkap di suatu tempat antara hidup dan mati, sosok-sosok membusuk secara berirama, hingga segala kelembapan hilang dan pergerakan mereda.<\/span><\/p>\n

Keabsurdan kulit buah sebagai metafor akan manusia membawa dua realita bersamaan: kefisikan dunia material bertemu dengan kekuatan yang sama dari hasrat, emosi, cinta, keintiman, kematian dan kehilangan dari alam batin. I Without End<\/em> merupakan seri ketiga dari rangkaian filem pendek yang berbasis lima elemen: Bumi, Udara, Api, Air dan Langit. Ia mengambil api sebagai inspirasi, baik sebagai energi maupun sebagai metafora emosi dan psikologis.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533128173739-3a5cfa56-b349″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8501″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533130117871{margin-bottom: 0px !important;}”]Laleh Khorramian<\/strong> (1974) works incorporate the cosmological thinking of ancient cultures with her own imagined worlds, synthesizing them into \u201chistories\u201d that are futuristic and ancient. By removing cultural or historic specificity from her narratives, she uses the ordinary to portray the epic, the universal, and the transient, in a search for worlds just beyond the concrete.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533129592522{margin-bottom: 0px !important;}”]Laleh Khorramian<\/strong> (1974) bekerja dengan menggabungkan pemikiran kosmologis tentang budaya purba dan dunia imajinasinya sendiri, menyatukannya ke dalam \u201csejarah-sejarah\u201d yang futuristik dan kuno. Dengan menyingkirkan kespesifikan kultural dan historis dari narasinya, ia gunakan hal-hal yang biasa untuk menggambarkan sesuatu yang epik, yang universal, and yang sementara, dalam sebuah pencarian akan dunia yang tak tampak.<\/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][vc_tta_section title=”FILMWORK” tab_id=”1533129637547-bd5f3050-17fb”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8503″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533129868987{margin-bottom: 0px !important;}”]\n

Ultima Ratio \u0394 Mountain of The Sun<\/strong><\/h4>\n

Filmmaker<\/em>\u00a0 Bahar Noorizadeh<\/strong> (Iran)
\nCountry of Production<\/em>\u00a0 Iran<\/strong>
\nLanguage\u00a0<\/em> –
\nSubtitles<\/em>\u00a0 –<\/p>\n

13 min, colour, 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_1533130135308{margin-bottom: 0px !important;}”]Traversing the crime-enriched Bekaa valley in Lebanon, a camera uncovers the age-old industries of hashish, models for altering what we see. So too, the camera follows futures, a flash-forwarded optic, an aesthetic that seeks to perceive what can be seen anew, cut, particles into vivid fields of matter. \u201cIn hashish there is no likeness, only zero-sites for vision-production.\u201d As Nourizade\u2019s cinematic skin sees hashish as a primitive and futuristic technology, the \u201cNow\u201d becomes a science-fiction beyond the double binds, the bad infinities of u-\/dys-topia.\u00a0 Instead, it becomes a tension-less state, a lack of anxiety over demarcating sapience from sentience, automation from human, intelligence farms from organic machines.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533129920496{margin-bottom: 0px !important;}”]Melintasi lembah Bekaa di Lebanon yang rawan akan kejahatan, sebuah kamera menyingkap industri tua ganja, model untuk mengubah apa yang kita lihat. Demikian pula, kamera mengikuti masa depan, dengan mode percepatan, sebuah estetika yang mencoba melihat apa yang tampak sebagai potongan partikel baru, menjadi bidang materi yang hidup. \u201cPada ganja tak ada kemiripan, hanya ruang kosong untuk produksi visual.\u201d Sebagaimana kulit sinematik Nourizade melihat ganja sebagai sebuah teknologi primitif yang futuristik, yang \u201cSekarang\u201d menjadi sebuah fiksi sains di luar ikatan ganda, ketakterbatasan dari u-\/dis-topia. Justru, ia menjadi situasi tanpa ketegangan, tanpa kecemasan atas pembatasan cita rasa dari kemampuan untuk merasakan, automasi dari manusia, ruang inteligensia dari mesin organik.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533129637945-cfb9881e-73c9″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8505″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533130056314{margin-bottom: 0px !important;}”]Bahar Noorizadeh<\/strong> (1987) is an artist, writer and filmmaker. She works on the reformulation of hegemonic time narratives as they collapse in the face of speculation: philosophical, financial, legal, futural, etc. Noorizadeh’s practice examines the relationship between aesthetics and reason, and the desubjectification of experience as a pathway for producing new social subjects.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533130075792{margin-bottom: 0px !important;}”]Bahar Noorizadeh<\/strong> (1987) merupakan seorang seniman, penulis dan pembuat filem. Ia bekerja pada reformulasi narasi waktu yang hegemonis ketika mereka rubuh di hadapan spekulasi: filosofis, finansial, legal, masa depan, dll. Praktik Noorizadeh membahas hubungan antara estetika dan akal budi, dan desubjektifikasi pengalaman sebagai sebuah jalan untuk memproduksi subjek sosial yang baru.<\/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][vc_tta_section title=”FILMWORK” tab_id=”1533130162596-4fabdf71-033a”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8508″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533130306386{margin-bottom: 0px !important;}”]\n

Communication Shrine<\/strong><\/h4>\n

Filmmaker<\/em>\u00a0 Laleh Khorramian<\/strong> (Iran)
\nCountry of Production<\/em>\u00a0 Iran<\/strong>
\nLanguage\u00a0<\/em> –
\nSubtitles\u00a0<\/em> –<\/p>\n

6:35 min, Animation, 2013[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533130339202{margin-bottom: 0px !important;}”]Originally existing as an installation, Communication\u200b \u200bShrine<\/em> \u200b\u200bis\u200b \u200ba\u200b \u200bseries\u200b \u200bof\u200b \u200bart\u200b \u200bpieces contained\u200b \u200bwithin\u200b \u200ban\u200b \u200bordinary\u200b \u200bvintage\u200b \u200brefrigerator. \u200bUpon\u200b \u200bopening\u200b \u200bit, \u200bone\u200b \u200bencounters\u200b \u200bthe\u200b \u200bworld\u200b \u200bof a Lieutenant, who is on his journey to a chemically polluted planet. Set in 2202, the planet is populated only by prisoners whose sentence is to reside there and reverse the pollution. The fridge transformed into an altar, generates an intimate look through the found\u200b \u200bobjects, personal\u200b \u200btrinkets\u200b \u200band\u200b \u200bthree\u200b \u200bvideos\u200b \u200brunning simultaneously, primarily\u200b \u200bintended\u200b \u200bas\u200b \u200bsurveillance videos and\u00a0a\u200b \u200bcommunication\u200b \u200bportal\u200b \u200bto\u200b \u200bearth\u200b \u200bfor\u200b \u200bthe\u200b \u200blone\u200b \u200bLieutenant.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533130374576{margin-bottom: 0px !important;}”]Mulanya sebuah instalasi, Communication\u200b \u200bShrine<\/em> merupakan rangkaian karya seni yang ditaruh dalam sebuah kulkas biasa. Ketika membukanya, seseorang berhadapan dengan dunia seorang Letnan, yang tengah dalam perjalanannya menuju sebuah planet yang terkena polusi kimia. Diletakkan pada tahun 2202, planet tersebut diisi hanya oleh narapidana yang terhukum untuk tinggal di sana dan memutarbalikkan polusi. Kulkas itu berubah menjadi sebuah altar, yang menghasilkan sebuah pandangan intim melalui objek-objek temuan, barang-barang remeh milik pribadi dan tiga video yang berjalan serentak, terutama ditujukan sebagai sebuah video pengintai dan sebuah portal komunikasi ke bumi bagi satu-satunya Letnan.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533130163227-0916053f-70d8″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8501″][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533130117871{margin-bottom: 0px !important;}”]Laleh Khorramian<\/strong> (1974) works incorporate the cosmological thinking of ancient cultures with her own imagined worlds, synthesizing them into \u201chistories\u201d that are futuristic and ancient. By removing cultural or historic specificity from her narratives, she uses the ordinary to portray the epic, the universal, and the transient, in a search for worlds just beyond the concrete.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533129592522{margin-bottom: 0px !important;}”]Laleh Khorramian<\/strong> (1974) bekerja dengan menggabungkan pemikiran kosmologis tentang budaya purba dan dunia imajinasinya sendiri, menyatukannya ke dalam \u201csejarah-sejarah\u201d yang futuristik dan kuno. Dengan menyingkirkan kespesifikan kultural dan historis dari narasinya, ia gunakan hal-hal yang biasa untuk menggambarkan sesuatu yang epik, yang universal, and yang sementara, dalam sebuah pencarian akan dunia yang tak tampak.<\/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][vc_tta_section title=”FILMWORK” tab_id=”1533130425100-daf098c3-26bd”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8510″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533130644257{margin-bottom: 0px !important;}”]\n

Hamdami<\/strong><\/h4>\n

Filmmaker<\/em>\u00a0 Slavs And Tatars<\/strong> (Iran)
\nCountry of Production<\/em>\u00a0 Iran<\/strong>
\nLanguage\u00a0<\/em> –
\nSubtitles\u00a0<\/em> –<\/p>\n

6 min, colour, 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_1533130669332{margin-bottom: 0px !important;}”]Text-based video\u00a0Hamdami<\/em> considers the \u201cconspiration\u201d, or simultaneity of sensuality and spirituality in the Sufi tradition by overlapping scripts in various languages. Characteristic of Slavs and Tatar\u2019s interest in the resolution of antitheses or what they call the “metaphysical splits\u201d, the piece reflects on the push and pull of competing ideologies (Sufism and communism), iconographies (sacred and profane) and functionalities (useful and useless) drawn from Eurasian traditions. \u00a0Through their multidisciplinary practice and playful approach to coincidentia oppositorum<\/em> (the coincidence of opposites), equally as a strategy as subject matter, artists condense the splits into polemical statements or objects, each one emerging as hypothetical bodies.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533130693566{margin-bottom: 0px !important;}”]Video berbasis teks berjudul Hamdami<\/em><\/strong> membicarakan \u201ckonspirasi\u201d, atau keserentakan sensualitas dan spiritualitas dalam tradisi Sufi \u00a0melalui naskah yang tumpang tindah dalam berbagai bahasa. Karakter ketertarikan Slavs dan Tatars pada resolusi antitesis atau yang mereka sebut sebagai \u201crenggangan metafisik\u201d, karya yang merefleksikan tarikan dan dorongan atas ideologi yang bertarung (Sufisme dan komunisme), ikonografi (yang sakral dan yang profan) dan fungsionalitas (yang berguna dan yang tak berguna) diambil dari tradisi Eurasia. Melalui praktik multidisiplin dan pendekatannya yang jenaka terhadap coincidentia oppositorum<\/em> (ketidaksengajaan oposisi), yang dapat dikatakan sebagai sebuah strategi subjek bahasan, seniman memampatkan renggangan tersebut ke dalam pernyataan atau objek yang polemis, yang artinya kemunculan tiap satu tubuh hipotesis.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533130425635-61be37c6-fac2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533130790801{margin-bottom: 0px !important;}”]Wishing to remain largely anonymous as a collective of unnamed artists, Slavs and Tatars<\/strong> was founded in 2006 by a Polish-Iranian duo. They refer to themselves “archaeologists of the everyday” as they draw upon deeper layers of meaning exemplified by tradition, custom, performance, language, anthropology and politics. While emotional and humorous, their works are very determined in their message.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533130813368{margin-bottom: 0px !important;}”]Ingin tetap tak dikenal lewat identitas sebagai sebuah kolektif seniman tak bernama, Slavs and Tatar<\/strong> didirikan di tahun 2006 oleh duo warga Iran-Polandia di tahun 2006. Mereka merujuk dirinya sebagai \u201cahli antropologi dari keseharian\u201d selagi mereka membuat lapisan makna yang lebih dalam yang ditunjukkan lewat tradisi, adat, performans bahasa, antropologi dan politik. Meski bersifat emosional dan humoris, karya-karya mereka bertekad kuat dalam pesannya.<\/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_column][\/vc_row][vc_row][vc_column][vc_tta_tabs][vc_tta_section title=”FILMWORK” tab_id=”1533131419605-fa7294eb-68f8″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8514″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533131567444{margin-bottom: 0px !important;}”]\n

Eye Stabber<\/strong><\/h4>\n

Filmmaker\u00a0<\/em> Tala Madani<\/strong> (Iran)
\nCountry of Production<\/em> Iran<\/strong>
\nLanguage<\/em>\u00a0 –
\nSubtitles\u00a0<\/em> –<\/p>\n

1:35 min, Animation, 2013[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1534138888966{margin-bottom: 0px !important;}”]Tala Madani\u2019s animations, alongside her paintings, adopt loose, expressive brushworks and heavy irony, usually center around groups of men situated in grotesque mise-en-sc\u00e9nes. Her stereotypical, middle aged macho figures are simultaneously innocent and evil, assured and vulnerable, or comical and violent.<\/span><\/p>\n

While curiosity, playfulness, and fantasy take center stage in Eye Stabber<\/em><\/strong> and Old Factory<\/em><\/strong>, these selected animations could be considered as witty implications to the process of art making and cacophonic relationship of the artistic ego to the world; where artist embodies its own creation in a simultaneous performance of self-indulgence and self-sabotage.\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1534138899821{margin-bottom: 0px !important;}”]Karya animasi Tala Madani, dan juga lukisannya, memiliki goresan yang lepas dan ekspresif namun sarat dengan ironi yang biasanya berpusat pada sekelompok pria yang tengah dalam situasi tak biasa.\u00a0 Sosok paruh bayanya yang klise secara\u00a0 bersamaan nampak tak berdosa dan jahat, yakin dan rapuh, atau jenaka dan bengis.<\/span><\/p>\n

Sementara rasa penasaran, kegembiraan dan fantasi adalah fokus dalam\u00a0Eye Stabber<\/em><\/strong>, dan Old Factory<\/em><\/strong>, ketiga animasi terpilih ini dapat dianggap sebagai hasil yang cerdik dari proses berkarya dan hubungan tak selaras ego artistik dan dunia; dimana seniman mewujudkan ciptaannya dalam sebuah performans atas pemuasan diri dan sabotasi dirinya secara simultan.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533131420604-5d69dbfa-602f”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8513″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533131387095{margin-bottom: 0px !important;}”]Tala Madani’s<\/strong> (1981) wildly expressionist paintings and animations works are populated by middle aged men with baby-like, pastel skins, vomiting, shitting and ejaculating or entertaining themselves with acrobatic buffoonery. Believing in \u201cour baseness as the most human aspect of our being\u201d, Madani asserts, \u201cthe oversocialized aspect of us is so oppressive\u201d, and \u201cIf we all engaged with our own animal instincts more, we\u2019d be better off.\u201d<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533131407090{margin-bottom: 0px !important;}”]Tala Madani<\/strong> (1981) menghasilkan karya animasi dan lukisan ekspresionis yang dipenuhi pria paruh baya yang seperti bayi, dengan kulit warna pastel, yang muntah, buang air dan melakukan ejakulasi atau menghibur dirinya dengan lelucon akrobatis. Mempercayai \u201ckehinaan kita sebagai aspek paling manusiawi dari keberadaan kita\u201d, Madani menegaskan,\u201daspek yang terlalu disosialkan dari kita begitu menekan\u201d, dan \u201cjika kita semua lebih akrab dengan insting kebinatangan, kita akan jadi lebih baik.\u201d<\/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][vc_tta_section title=”FILMWORK” tab_id=”1533131417874-ccba193f-478c”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8515″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533131713483{margin-bottom: 0px !important;}”]\n

Old Factory<\/strong><\/h4>\n

Filmmaker<\/em>\u00a0 Tala Madani<\/strong> (Iran)
\nCountry of Production\u00a0<\/em> Iran<\/strong>
\nLanguage\u00a0<\/em> –
\nSubtitles\u00a0<\/em> –<\/p>\n

2:50 min, Animation, 2014[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1534138915090{margin-bottom: 0px !important;}”]Tala Madani\u2019s animations, alongside her paintings, adopt loose, expressive brushworks and heavy irony, usually center around groups of men situated in grotesque mise-en-sc\u00e9nes. Her stereotypical, middle aged macho figures are simultaneously innocent and evil, assured and vulnerable, or comical and violent.<\/span><\/p>\n

While curiosity, playfulness, and fantasy take center stage in Eye Stabber<\/em><\/strong> and Old Factory<\/em><\/strong>, these selected animations could be considered as witty implications to the process of art making and cacophonic relationship of the artistic ego to the world; where artist embodies its own creation in a simultaneous performance of self-indulgence and self-sabotage.\u00a0<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1534138925024{margin-bottom: 0px !important;}”]Karya animasi Tala Madani, dan juga lukisannya, memiliki goresan yang lepas dan ekspresif namun sarat dengan ironi yang biasanya berpusat pada sekelompok pria yang tengah dalam situasi tak biasa.\u00a0 Sosok paruh bayanya yang klise secara\u00a0 bersamaan nampak tak berdosa dan jahat, yakin dan rapuh, atau jenaka dan bengis.<\/span><\/p>\n

Sementara rasa penasaran, kegembiraan dan fantasi adalah fokus dalam Eye Stabber<\/em><\/strong>, dan Old Factory<\/em><\/strong>, ketiga animasi terpilih ini dapat dianggap sebagai hasil yang cerdik dari proses berkarya dan hubungan tak selaras ego artistik dan dunia; dimana seniman mewujudkan ciptaannya dalam sebuah performans atas pemuasan diri dan sabotasi dirinya secara simultan.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533131418775-16078187-29c2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8513″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533131387095{margin-bottom: 0px !important;}”]Tala Madani’s<\/strong> (1981) wildly expressionist paintings and animations works are populated by middle aged men with baby-like, pastel skins, vomiting, shitting and ejaculating or entertaining themselves with acrobatic buffoonery. Believing in \u201cour baseness as the most human aspect of our being\u201d, Madani asserts, \u201cthe oversocialized aspect of us is so oppressive\u201d, and \u201cIf we all engaged with our own animal instincts more, we\u2019d be better off.\u201d<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533131407090{margin-bottom: 0px !important;}”]Tala Madani<\/strong> (1981) menghasilkan karya animasi dan lukisan ekspresionis yang dipenuhi pria paruh baya yang seperti bayi, dengan kulit warna pastel, yang muntah, buang air dan melakukan ejakulasi atau menghibur dirinya dengan lelucon akrobatis. Mempercayai \u201ckehinaan kita sebagai aspek paling manusiawi dari keberadaan kita\u201d, Madani menegaskan,\u201daspek yang terlalu disosialkan dari kita begitu menekan\u201d, dan \u201cjika kita semua lebih akrab dengan insting kebinatangan, kita akan jadi lebih baik.\u201d<\/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][vc_tta_section title=”FILMWORK” tab_id=”1533131853311-072d9e7d-cb8a”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8516″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533131993258{margin-bottom: 0px !important;}”]\n

Shahed<\/strong><\/h4>\n

Filmmaker<\/em>\u00a0 Rambod Vala<\/strong> (Iran)
\nCountry of Production\u00a0<\/em> Iran<\/strong>
\nLanguage\u00a0<\/em> –
\nSubtitles\u00a0<\/em> –<\/p>\n

26:25 min, colour, 2014-2015[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533132025819{margin-bottom: 0px !important;}”]Shahed<\/strong><\/em> (a female name, also means \u201cwitness\u201d in Farsi) captures a love story influenced by \u201cPygmalion\u201d, a mythical sculptor who carved a statue, fell in love with it, and brought her to life by help of gods. The story takes place on two computer screens, capturing the conversation between a migrant and an impostor: a love story between actual and virtual territories, people who can neither stay nor are able to leave, and some manuals about how to make one\u2019s way out through art and art world.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533132054112{margin-bottom: 0px !important;}”]Shahed<\/em><\/strong> (sebuah nama perempuan, yang juga berarti \u201csaksi\u201d dalam Bahasa Persia) menangkap sebuah kisah cinta yang dipengaruhi oleh Pygmalion<\/em>, <\/em>makhluk mitos pemahat yang membuat sebuah patung, jatuh cinta padanya, dan menghidupkannya dengan bantuan para dewa. Cerita terjadi pada dua buah layar komputer, yang menangkap percakapan antara seorang migran dan seorang tukang tipu: sebuah kisah cinta antara wilayah aktual dan virtual, di mana orang-orang tak bisa tinggal ataupun pergi, dan sejumlah buku petunjuk tentang bagaimana membuat sebuah jalan keluar melalui seni dan dunia seni.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533131854404-90385d44-6de6″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8520″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533132178406{margin-bottom: 0px !important;}”]Rambod Vala<\/strong> (1985) depicts two cliffs standing in front of each other, separated by a gap, where his work is generated from the debris of an avalanche falling down the cliffs into the abyss. Whether as a result of decay or deterioration, the digital image \u2014 complemented by voice and storytelling \u2014 is his primary material.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533132201130{margin-bottom: 0px !important;}”]Rambod Vala<\/strong> (1985) menggambarkan dua buah tebing yang saling menghadap, dipisahkan oleh sebuah celah, dimana karyanya dihasilkan dari puing-puing longsoran yang jatuh dari tebing ke jurang. Baik sebagai hasil dari kerusakan atau kemunduran, gambar digital \u2013 dilengkapi dengan suara dan tuturan cerita \u2013 menjadi bahan utama karyanya.<\/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][vc_tta_section title=”FILMWORK” tab_id=”1533131850165-3847a1d8-775f”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8521″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533132329716{margin-bottom: 0px !important;}”]\n

Why do We Prefer Lettuce to Other Fruits<\/strong><\/h4>\n

Filmmaker<\/em>\u00a0 Hadi Fallahpisheh<\/strong> (Iran)
\nCountry of Production<\/em>\u00a0 Iran<\/strong>
\nLanguage\u00a0<\/em> –
\nSubtitles<\/em>\u00a0 –<\/p>\n

2:30 min, colour, 2014[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533132895407{margin-bottom: 0px !important;}”]Why Do We Prefer Lettuce to Other Fruits<\/em><\/strong> is made off of an action: swinging fruits as hard as possible in order to find out which one would last the longest. The action takes place on and around a playground in a suburb of Tehran. While camera follows the shadow of the artist, the city at night seeps through the background. Out of this action, a set of related works, photographs and videos emerges, creating a playful improvised narrative that speaks to Fallahpisheh\u2019s poetic and imaginative \u201ctelling\/not telling\u201d sensibility toward observations of, and engagements with, everyday life.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533132924146{margin-bottom: 0px !important;}”]Why Do We Prefer Lettuce to Other Fruits<\/em><\/strong> dibuat dari sebuah aksi: mengayunkan buah-buahan sekencang mungkin untuk mengetahui buah mana yang akan bertahan paling lama. Aksi tersebut dilakukan di sebuah taman bermain dan sekitarnya, di sebuah daerah pinggiran Tehran. Sementara kamera mengikuti bayangan si pembuat, kehidupan kota di malam hari menyusup di latar belakang. Dari aksi ini, serangkaian karya yang masih berhubungan dengannya, seperti foto dan video, lahir serta menciptakan narasi improvisasi yang jenaka yang mengekspresikan imajinasi dan kepuitikan Fallahpisheh dalam bertutur\/tak menuturkan tentang sensibilitas terhadap pengamatan dan keterlibatan terhadap kehidupan sehari-hari.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533131851009-da3aec57-3038″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8529″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533132824309{margin-bottom: 0px !important;}”]Hadi Fallahpisheh<\/strong> (1987) works in diverse media including photography, video, writing, and performance. His practice deals with politics of representation in relation to the notions of resistance, memory, and desire. With a self-referential approach towards \u201cimage making\u201d, he agitates the social life of language and materials.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533132849490{margin-bottom: 0px !important;}”]Hadi Fallahpisheh<\/strong> (1987) berkarya dengan berbagai media termasuk fotografi, video, tulisan dan performans. Praktiknya melibatkan politik representasi dalam hubungannya dengan perlawanan, memori dan hasrat. Dengan pendekatan yang merujuk pada dirinya sendiri terhadap \u201cproduksi gambar\u201d, ia menganggu kehidupan sosial melalui bahasa dan material.<\/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][vc_tta_section title=”FILMWORK” tab_id=”1533132627735-09fa0a5e-9791″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8523″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533132515675{margin-bottom: 0px !important;}”]\n

Nature Morte<\/strong><\/h4>\n

Filmmaker<\/em>\u00a0 Mamali Shafahi<\/strong> (Iran)
\nCountry of Production\u00a0<\/em> Iran<\/strong>
\nLanguage\u00a0<\/em> –
\nSubtitles\u00a0<\/em> –<\/p>\n

55 min, colour, sound, 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_1533132553301{margin-bottom: 0px !important;}”]Adopting a cross-referential approach towards history of image making, including the famous piece of Iranian new wave cinema \u201cTabiat-e-Bi-Jan<\/em>\u201d<\/em>, \u201cNature Morte<\/strong>\u201d, unfolds in two episodes. Daddy Sperm, is a reflection on the \u201cmiracle\u201d of life: how a drop of liquid becomes a human being, and affect the creative cycles and cycles of life. The second episode, Immortal, is a round trip between the real and virtual worlds and an attempt in \u201cimmortalizing\u201d the aging parents through the cult of Art.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533132579488{margin-bottom: 0px !important;}”]Mengadopsi pendekatan lintas referensi terhadap sejarah pembuatan filem, termasuk merujuk pada karya new wave <\/em>Iran yang terkenal Tabiat-e-Bi-Jan<\/em>, Nature Morte<\/strong><\/em> dibuat dalam dua episode. Daddy Sperm<\/em>, merupakan sebuah refleksi akan \u201ckeajaiban\u201d hidup: bagaimana setetes cairan berubah menjadi manusia, dan mempengaruhi lingkaran kreativitas dan lingkaran kehidupan. Episode yang kedua, Immortal,<\/em> merupakan sebuah perjalanan pulang-pergi antara dunia nyata dan virtual serta sebuah usaha untuk \u201cmengabadikan\u201d orang tua yang kian menua melalui kultus seni.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533132629635-414b5bc6-87d4″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8534″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533133063199{margin-bottom: 0px !important;}”]Mamali Shahafi<\/strong> (1982) is interested in how Internet and emerging technologies have transmuted our relationship with each other, and pushing that relationship beyond our human borders. He is interested in the effects these developments have had on role of art and of the artist, proposing that such a role is no longer to offer ideal visions from a pinnacle, but to sift, analyze, edit, juxtapose and present without comment.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533133084077{margin-bottom: 0px !important;}”]Mamali Shahafi<\/strong> (1982) tertarik pada bagaimana internet dan teknologi-teknologi baru mengubah hubungan kita dengan satu sama lain, dan mendorong hubungan tersebut hingga di luar batas manusia. Ia tertarik pada efek yang telah mereka miliki pada peran seni dan seniman, mengusulkan bahwa peran mereka bukan lagi untuk menawarkan visi ideal dari sebuah puncak, tetapi justru untuk menyelidiki, menganalisa, mengedit, menjukstaposisikan dan menyajikan tanpa komentar.<\/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 Curator” color=”black” border_width=”3″][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/6″][vc_single_image image=”8111″][\/vc_column][vc_column width=”5\/12″][vc_column_text css=”.vc_custom_1533133178364{margin-bottom: 0px !important;}”]Azar Mahmoudian is 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][vc_column width=”5\/12″][vc_column_text css=”.vc_custom_1533133201332{margin-bottom: 0px !important;}”]Azar Mahmoudian 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, sebagai bagian dari proyek 4Cs yang didanai oleh Uni Eropa (2918-2020, di berbagai lokasi).<\/span>[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

Of Conspiration and Resuscitation – Tentang Konspirasi dan Resusitasi<\/p>\n","protected":false},"author":1,"featured_media":8845,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Curatorial Program - 01","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[479,345],"tags":[480,500,481,150],"jetpack_publicize_connections":[],"yoast_head":"\nCuratorial Program - 01 — ARKIPEL<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arkipel.org\/curatorial-program-01\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Curatorial Program - 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