{"id":8536,"date":"2018-08-01T21:31:13","date_gmt":"2018-08-01T14:31:13","guid":{"rendered":"http:\/\/arkipel.org\/?p=8536"},"modified":"2018-08-01T22:03:59","modified_gmt":"2018-08-01T15:03:59","slug":"curatorial-program-02","status":"publish","type":"post","link":"https:\/\/arkipel.org\/curatorial-program-02\/","title":{"rendered":"Curatorial Program – 02"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1533134101754{margin-bottom: 0px !important;}”]\n

Pratyaksha
\n<\/strong>Pratyaksha
\n<\/em><\/h2>\n

Curator: Sonal Jain
\n<\/strong>–
\nSunday, August 12, 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_tta_accordion 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=”1533128380680-b61142b4-8703″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533134358533{margin-bottom: 0px !important;}”]\u201cYour kind salutes my cunt.\u201d<\/span><\/p>\n

This [statement] from the mouth of a transvestite in the mythical town of Pushkar is an ubiquitous statement that seems to resound through the universe we encounter in the films of Swaroop and Hura. There is no place here for the individual or the anthropocentric worldview that forms the basis of the dominant discourses today and this position is taken without an apology. There is an absence of the colonized both in the traditional sense and in the techno-science sense that Virilio talks about.<\/span><\/p>\n

\u201cThe colonial utopia par excellence is the attempt to modify the body of the colonized. When I say that, I am not referring to the state of the colonized, but to a state of fact, to techno-science, to the state of the world. A colonial, imperial, total power has never been exercised over a country without simultaneously exercising this colonial, imperial or total power over the body. \u2026 in the present situation the problem is not to civilize savage bodies, but to modify living bodies through cloning, through chimeras.\u201d[1]<\/a><\/span><\/p><\/blockquote>\n

The bodies we encounter in this world are not only interspecies but also transcend forms and realms just as easily as they breathe. They are the post-humans that precede the coming of the term.<\/span><\/p>\n

In this world \u201cyour kind\u201d, is anyone who is caught in the web of false identities created by the capitalist-industrial network or the information society some<\/em> of us inhabit. This cunt is that of creation and its many manifestations that are in a state of constant flux and therefore escape the trap of a fixed location, definition or even body. It may be the body of the transvestite in Pushkar Puran<\/em> who is beyond gender and that [body] of Madhu in The Lost Head and the Bird <\/em>who is without a head but misses her head. This is as close to a being a human as they come in this transient play, pastime or lila[2]<\/strong><\/a><\/em> of the all-transcendent Krishna and Radha from whose navel it has all emerged.[3]<\/a><\/span><\/p>\n

The filmmakers in turn with their subtler senses of perception and through their own play or lila<\/em> catch a small glimpse of these worlds of Gods, demi gods, spirits, people, animals, mythical creatures, birds and insects. All of who have very little clinging to their fixed selves transmuting into and interacting with other forms with a natural unabashed sincerity. Be it the transvestite who receives messages from the cows who in turn receive it from the dead spirits or the headless Madhu who had been warned by a fortuneteller of the imminent loss of her head.<\/span><\/p>\n

This state of existence is only relative, relative to all that is around us, the planets, stars, galaxies and everything happens in consultation with them. In Pushkar Puran<\/em>,<\/em> rituals for individual salvation are punctuated by the pain stricken shrieks of a spirit being exorcized from the body of an Eunuch. It says \u201cNo. No I live here\u201d.<\/span><\/p>\n

Pushkar Puran<\/em> tells us about Brahma, the highest of all beings, who grew four more heads and eight more eyes as he gazed mesmerized at Shatarupa<\/strong> \u2013<\/strong> his daughter and only woman in the creation who had just emerged from within him \u2013 and of Prajapati<\/strong> who in the beginning of the universe was staring into space and desiring when all of a sudden his left eye began to swell and fell to the ground.<\/span><\/p>\n

The profusion of the gaze that we now share seems to be preempted in these acts. The eye as a symbol of desire that can fall out seems plausible. That [situation] in fact, seems to be a contemporary state. In Hura\u2019s film, the story of Madhu and a single image of a headless body slowly emerges with multiple gaps, almost like a repressed or lost memory and then come the photographs which allude to Madhu\u2019s story and soon become mixed with a constant stream of media images that overtake our collective consciousness.<\/span><\/p>\n

The information society with the endless stream of data gives precedence to pratyaksha<\/em>, which is the process of collecting and knowing data. Pratyaksha<\/em> as defined by various Indian philosophical schools, like the Samkhya, Nyaya<\/em> and Yoga,[4]<\/a> is the faculty of perception and has a full range \u2013 from the sense perception to the mental perception on to the consciousness of the self and finally to the direct experience of the essential truth of one’s own nature or Aparokshanubhuti<\/em>. The process of filmmaking is just one of the means of pratyaksha<\/em> that employs and preempts its different stages. It becomes one with the very stream or flow of manifestations that it tries to probe. For Christian Metz, in the cinematic apparatus, the spectator identifies with him\/herself as a “kind of transcendental subject.” By prosthetically extending human perception, the apparatus grants the spectator the illusory ubiquity of the “all-perceiving subject” enjoying an exhilarating sense of visual power.<\/span><\/p>\n

As the doctrine in Jainism of anek\u0101ntav\u0101da[5]<\/strong><\/a><\/em> postulates, there is no one ultimate truth, reality is complex and has multiple aspects and multiple ways of seeing. This is at the core of the narratives that Swaroop and Hura spin. They defy any dominant discourse of narrative construction, time and duration treatment (reiterating that we live in many times) or conventions of genre. Instead they seem to connect directly with the forms of the rich stream coming down without any real interruptions with beginnings in the very myths they talk about. These forms seem impervious to all the processes of the imperialist ordering of the globe under a panoptical regime or colonization and neo-colonization of the senses, coopting and making them their own (form) of at all.<\/span><\/p>\n

These myths of otherworldly Gods and creatures in these films seem more real than the post-capitalist myths that dominate the collective consciousness of contemporary societies. The films defy the history and beginnings of cinema tied intrinsically with that of psychoanalysis, nationalism and consumerism. ***<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533134405520{margin-bottom: 0px !important;}”]\u201cYour kind salutes my cunt.\u201d<\/em><\/span><\/p>\n

[Pernyataan] dari mulut seorang waria di kota mitos Pushkar ini adalah sebuah pernyataan yang ditemukan di mana-mana yang tampaknya berkumandang melalui alam semesta yang kita temui dalam filem-filem Swaroop dan Hura. Tidak ada tempat di sini bagi individu atau pandangan dunia antroposentris yang membentuk dasar wacana dominan saat ini dan posisi ini diambil tanpa permintaan maaf. Ada ketidakhadiran dari yang dijajah baik dalam arti tradisional dan juga dalam arti teknologi-sains yang dibicarakan Virilio.<\/span><\/p>\n

\u201cUtopia kolonial yang lebih baik dari utopia-utopia lainnya adalah upaya untuk memodifikasi tubuh yang terjajah. Ketika saya mengatakan itu, saya tidak mengacu pada keadaan dari yang dijajah, tetapi mengacu pada keadaan yang sebenarnya, pada teknologi-sains, pada keadaan dunia. Kekuasaan total, kolonial, kekaisaran tidak pernah dijalankan terhadap suatu negara tanpa secara bersamaan menjalankannya terhadap tubuh. \u2026dalam situasi saat ini masalahnya adalah bukan membudayakan tubuh yang tak beradab, tetapi memodifikasi tubuh yang hidup melalui kloning, melalui chimera<\/em>.\u201d[1]<\/a><\/span><\/p><\/blockquote>\n

Tubuh-tubuh yang kita temui di dunia ini bukan hanya merupakan antarspesies tetapi juga melampaui bentuk dan alam semudah mereka bernapas. Mereka adalah purna-manusia yang mendahului datangnya istilah itu.<\/span><\/p>\n

Di dunia ini, “your kind<\/em>“, adalah siapa saja yang terjebak dalam jaring identitas palsu yang diciptakan oleh jaringan industri-kapitalis atau masyarakat informasi yang dihuni oleh sebagian<\/em> dari kita. Kemaluan (\u2018cunt<\/em>\u2019) ini adalah ciptaan dan banyak manifestasinya yang berada dalam keadaan fluks konstan dan karenanya lolos dari jebakan lokasi, definisi atau bahkan tubuh yang tetap. Hal ini bisa berupa tubuh waria di Pushkar Puran<\/em> yang melewati gender dan [tubuh] Madhu dalam The Lost Head and the Bird <\/em>yang tidak memiliki kepala tetapi merindukan kepalanya. Ini adalah yang paling mendekati menjadi manusia saat mereka masuk ke dalam permainan sementara atau lila<\/em>[2]<\/a> dari Krishna dan Radha yang seluruhnya bersifat transenden, yang dari pusarnya semuanya telah muncul.[3]<\/a><\/span><\/p>\n

Para pembuat filem pada gilirannya dengan rasa persepsi mereka yang lebih halus dan melalui permainan mereka sendiri atau leela<\/em> melihat sekilas dunia-dunia para Dewa ini, setengah dewa, roh-roh, orang-orang, hewan-hewan, makhluk-makhluk mitos, burung-burung dan serangga. Semuanya memiliki keeratan yang kecil dengan diri tetap mereka dan berubah menjadi dan berinteraksi dengan bentuk lain dalam ketulusan tak tahu malu yang alami. Baik itu waria yang menerima pesan dari sapi-sapi yang menerimanya dari roh-roh yang mati atau Madhu tanpa kepala yang telah diperingatkan oleh seorang peramal tentang kehilangan kepalanya yang akan segera terjadi.<\/span><\/p>\n

Keadaan eksistensi ini hanyalah relatif, relatif terhadap semua yang ada di sekitar kita, planet, bintang, galaksi dan semua yang berkonsultasi dengan mereka. Dalam Pushkar Puran<\/em>, ritual-ritual untuk penyelamatan individu diselingi oleh jeritan rasa sakit dari roh yang diusir dari tubuh seorang Kasim. Roh tersebut berkata, “Tidak. Tidak, saya tinggal di sini\u201d.<\/span><\/p>\n

Pushkar Puran<\/em> bercerita kepada kita tentang Brahma, yang tertinggi dari semua makhluk, yang menumbuhkan empat kepala dan delapan mata lagi saat dia menatap terpesona pada Shatarupa<\/strong>\u2014putrinya dan satu-satunya perempuan dalam penciptaan yang baru saja keluar dari dalam dirinya\u2014dan Prajapati <\/strong>yang di permulaan alam semesta menatap ruang angkasa dan mendamba saat tiba-tiba mata kirinya mulai membengkak dan jatuh ke tanah.<\/span><\/p>\n

Tatapan berlimpah yang sekarang kita bagi tampaknya lebih diutamakan dalam peran-peran ini. Mata sebagai simbol keinginan yang bisa rontok tampaknya masuk akal. Sebenarnya [situasi] itu tampaknya menjadi keadaan yang kontemporer. Dalam filem milik Hura, kisah Madhu dan satu gambar tubuh tanpa kepala perlahan muncul dengan banyak celah, hampir seperti memori yang tertekan atau hilang dan kemudian muncul foto-foto yang menyinggung cerita Madhu dan segera bercampur dengan aliran konstan gambar media yang mengambil alih kesadaran kolektif kita.<\/span><\/p>\n

Masyarakat informasi dengan aliran data yang tak ada habisnya memberi preseden bagi pratyaksha<\/em>, yang merupakan proses mengumpulkan dan mengetahui data. Pratyaksha<\/em> sebagaimana didefinisikan oleh berbagai ajaran filsafat India, seperti Samkhya<\/em>, Nyaya<\/em> dan Yoga<\/em>,[4]<\/a> adalah kemampuan persepsi yang lengkap\u2014mulai dari persepsi indra hingga persepsi mental pada kesadaran diri, dan akhirnya sampai dengan pengalaman langsung dari kebenaran esensial sifat seseorang atau Aparokshanubhuti<\/em>. Proses pembuatan filem hanyalah salah satu sarana pratyaksha<\/em> yang menggunakan dan mendahulukan tahap-tahapnya yang berbeda. Proses ini menjadi satu dengan aliran manifestasi yang dicoba digalinya. Bagi Christian Metz, dalam peralatan sinematik, penonton mengidentifikasi dirinya sebagai \u201cjenis subjek transendental\u201d. Dengan memperluas persepsi manusia secara prostetis, peralatan tersebut memberi penonton ilusi yang ada di mana-mana dari \u201csubjek yang menyadari segalanya\u201d yang menikmati perasaan gembira dari kekuatan visual.<\/span><\/p>\n

Sebagaimana doktrin dalam Jainisme anek\u0101ntav\u0101da[5]<\/strong><\/a><\/em> mendalilkan, tidak ada satu kebenaran tertinggi, realitas adalah hal yang kompleks dan memiliki banyak aspek dan banyak cara pandang. Ini adalah inti dari narasi yang diceritakan oleh Swaroop dan Hura. Mereka menentang wacana dominan apa pun dari konstruksi naratif, waktu dan perlakuan durasi (menegaskan bahwa kita hidup dalam banyak waktu) atau konvensi genre. Alih-alih, mereka tampaknya terhubung langsung dengan bentuk-bentuk arus yang kaya yang datang tanpa gangguan nyata dengan asal mula mitos-mitos yang mereka bicarakan. Bentuk-bentuk ini tampaknya tahan terhadap semua proses tatanan imperialis dunia di bawah rezim panoptikal atau kolonisasi dan neo-kolonisasi rasa, mengooptasi dan membuat mereka menjadi (bentuk) mereka sendiri.<\/span><\/p>\n

Mitos-mitos tentang Dewa-dewa dunia lain ini dan makhluk-makhluk di dalam filem-filem ini tampak lebih nyata daripada mitos pasca-kapitalis yang mendominasi kesadaran kolektif masyarakat kontemporer. Filem-filem tersebut menentang sejarah dan asal mula sinema yang diikat secara intrinsik dengan psikoanalisis, nasionalisme, dan konsumerisme. ***<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533134370539{margin-bottom: 0px !important;}”]Endnotes<\/strong><\/span><\/p>\n

[1]<\/a> Virilio, Paul and Sylvere Lotringer. Crepuscular Dawn<\/em>. New York: Semiotext(e), 2002. page 101.<\/span><\/p>\n

[2]<\/a> The term \u201crasa\u201d or “aesthetics” and \u201clila\u201d or “act,” “play” or “dance” is a concept from Hinduism, which roughly translates to “play (lila) of aesthetics (rasa),” or more broadly as “Dance of Divine Love”. It refers to a work by M. Schweig. Dance of Divine Love<\/em>: <\/em>The Rasa Lila of Krishna from the Bhagavata Purana, India’s classic sacred love story<\/em>. Princeton University Press, Princeton, NJ. 2005<\/span><\/p>\n

[3]<\/a> Krishna and Radha are considered the primeval forms of God in the Vaishnava school of thought in Vedic culture of India. Pushkar Puran refers to a myth where the universe was created out of their navel.<\/span><\/p>\n

[4]<\/a> These are three of the schools of philosophy that emerged in ancient India and based on or accept the authority of the Vedas. The Vedas are the oldest texts in Sanskrit literature and the oldest scriptures of Hinduism. They are also orthodox or Astik or atheist traditions.<\/span><\/p>\n

[5]<\/a> According to anek\u0101ntav\u0101da<\/em>, no single, specific statement can describe the nature of existence and the absolute truth which is comprehended only by the Arihants or the enlightened beings. Other beings and their statements about absolute truth are incomplete, and at best a partial truth.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533134383561{margin-bottom: 0px !important;}”]Endnotes<\/strong><\/span><\/p>\n

[1]<\/a> Virilio, Paul dan Sylvere Lotringer. Crepuscular Dawn<\/em>. New York: Semiotext(e), 2002. halaman 101.<\/span><\/p>\n

[2]<\/a> Istilah “rasa<\/em>” atau “estetika” dan “lila<\/em>” atau “tindakan,” “bermain” atau “menari” adalah konsep dari Hinduisme, yang secara kasar diterjemahkan menjadi “permainan(lila<\/em>) estetika (rasa<\/em>),” atau lebih luas sebagai “Dance of Divine Love”. Ini mengacu pada karya M. Schweig.Dance of Divine Love: The Rasa Lila of Krishna from the Bhagavata Purana, India’s classic sacred love story<\/em>. Princeton University Press, Princeton, NJ. 2005<\/span><\/p>\n

[3]<\/a> Krishna dan Radha dianggap sebagai bentuk-bentuk purba Tuhan di dalam aliran pemikiran Vaishnava dalam kultur Weda di India. Pushkar Puran mengacu pada mitos di mana alam semesta diciptakan dari pusar keduanya.<\/span><\/p>\n

[4]<\/a> Ini adalah tiga aliran filsafat yang muncul di India kuno dengan berdasarkan Weda. Weda adalah teks tertua dalam sastra Sanskerta dan kitab suci tertua Hindu. Mereka juga ortodoks atau Astik atau tradisi ateis.<\/span><\/p>\n

[5]<\/a> Menurut anek\u0101ntav\u0101da, tidak ada pernyataan tunggal yang spesifik yang dapat menggambarkan sifat keberadaan dan kebenaran mutlak yang hanya dipahami oleh para Arihant atau makhluk tercerahkan. Makhluk lainnya dan pernyataan mereka tentang kebenaran mutlak sebetulnya tidak lengkap, dan paling tidak hanya sebagian dari kebenaran.<\/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][vc_tta_section title=”FILMWORK” tab_id=”1533128173726-9028b3c3-41c7″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8540″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533134586961{margin-bottom: 0px !important;}”]\n

Pushkar Puran\u00a0<\/strong><\/h4>\n

Filmmaker<\/em>\u00a0 Kamal Swaroop<\/strong> (India)
\nCountry of Production<\/em>\u00a0 India &<\/strong>\u00a0USA<\/strong>
\nLanguage<\/em>\u00a0 Hindi<\/strong>
\nSubtitles<\/em>\u00a0 English<\/strong><\/p>\n

100 mins, 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_1533134612918{margin-bottom: 0px !important;}”]Pushkar is a small town in the Federal State of Rajasthan, Northwest India, and one of the holiest places of Hinduism. Once a year, however, during the full moon in the autumn month of Kartik, the town and the desert surrounding it turn into a sprawling fun fair with Ferris wheels and carousels, music and colorful dance performances. The spectacle appears in the desert as suddenly as a Fata Morgana. And just as suddenly, the colorful magic is over. Kamal Swaroop captures the exuberant goings-on with a precise eye for strong images and details, exploring the myths and gods of India as well as their political instrumentalization.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533134641207{margin-bottom: 0px !important;}”]Pushkar merupakan sebuah kota kecil di Negara Bagian Rajasthan di Barat laut India dan salah satu tempat tersuci bagi penganut Hinduisme. Namun, sekali setahun pada bulan purnama di musim gugur bulan Kartik, kota dan gurun di sekelilingnya berubah menjadi pasar malam yang meriah dengan bianglala dan komidi putar, musik, serta tari-tarian yang penuh warna. Tontonan ini muncul di tengah gurun dengan mendadak seperti halnya Fata Morgana. Dan dengan mendadak pula, warna-warna magis itu lenyap. Kamal Swaroop menangkap kegegap-gempitaan ini dengan kepresisian mata terhadap gambar dan detail yang berkekuatan, mengeksplorasi mitos dan dewa-dewa India serta instrumentalisasi politiknya.<\/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=”8541″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533134867326{margin-bottom: 0px !important;}”]Kamal Swaroop<\/strong> is a two-time President\u2019s award and Filmfare Award winning film, television and radio director and screenwriter. In 1974, he graduated from the Film and Television Institute of India and even his student works met with unusual international acclaim. In 1982, he assisted Sir Richard Attenborough in the filming of Gandhi. Om Dar-B-Dar (1988) is his path breaking masterpiece.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533134915458{margin-bottom: 0px !important;}”]Kamal Swaroop<\/strong> merupakan penerima penghargaan Presiden dan Filmfare<\/em> dalam kategori sutradara dan penulis naskan filem, televisi serta radio. Pada tahun 1974, ia lulus dari Institut Film dan Televisi India dan bahkan karya-karyanya sebagai mahasiswa mendapatkan sambutan internasional yang tak biasa. Pada tahun 1982, ia membantu Sir Richard Attenborough dalam membuat filem Gandhi. Filem Om Dar-B-Dar (1988) menjadi mahakaryanya yang pertama.<\/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=”8542″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533135475741{margin-bottom: 0px !important;}”]\n

The Lost Head and the Bird<\/strong><\/h4>\n

Filmmaker<\/em>\u00a0\u00a0Sohrab Hura<\/strong> (India)
\nCountry of Production<\/em>\u00a0 India<\/strong>
\nLanguage<\/em>\u00a0 English<\/strong>
\nSubtitles<\/em>\u00a0 –<\/p>\n

9,5 min, colour, sound, Ongoing[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533135367464{margin-bottom: 0px !important;}”]The Lost Head <\/em><\/strong>and<\/em><\/strong> The Bird\u00a0<\/em><\/strong>explores the artist\u2019s response to the current socio-political climate in India. It takes the audience on a journey to hidden aspects of Indian society \u2013 to life on the fringes. A disorientating and absurd world, where the boundaries between fact and fiction blur, and the undercurrents of caste, sexual, religious, and political violence lurk beneath the surface, erupting in ever more frequent outbursts. Born out of an ongoing four-year photographic project titled\u00a0The Coast,<\/em> which saw Hura traveling up and down the subcontinent documenting the wonderful and vicious things that happen along the Indian coastline,\u00a0The Lost Head <\/em>and<\/em> The Bird<\/em>\u00a0explores a frighteningly fast-changing, post-truth world where actions are fuelled by appeals to emotion and facts are increasingly ignored.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533135398167{margin-bottom: 0px !important;}”]The Lost Head & The Bird<\/em><\/strong> mengeksplorasi respon sang seniman terhadap iklim sosio-politik di India kini. Filem ini membawa penonton pada sebuah perjalanan menuju ruang-ruang tersembunyi masyarakat India \u2013 menuju kehidupan di pinggiran. Sebuah dunia yang membingungkan, dimana batas antara fakta dan fiksi memburam, dan arus bawah dari kasta, seksualitas, agama dan kekerasan politik mengintai di bawah permukaan, bahkan mengeluarkan erupsi yang lebih sering. Lahir dari sebuah proyek fotografi selama empat tahun yang masih berlangsung berjudul The Coast,<\/em> yang memperlihatkan Hura melakukan perjalanan naik-turun anak benua mendokumentasikan hal-hal yang menakjubkan dan ganas yang terjadi sepanjang garis pantai India, filem The Lost Head and The Bird<\/em> mengeksplorasi sebuah dunia pasca-kebenaran yang berubah amat cepat dimana aksi-aksi dipantik oleh tarikan emosi dan fakta-fakta kian diabaikan.<\/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=”8544″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533135595389{margin-bottom: 0px !important;}”]Sohrab Hura <\/strong>(1981) works mainly in photography. However he tries to break that form regularly and extend it into film, text and sound. In 2018 his film \u2013 The Lost Head & The Bird \u2013 was screened at the International Short Film Festival Oberhausen where he was awarded the best contribution to the NRW category and received a special mention by the jury of the International Competition. He is an associate member with Magnum Photos and is represented by Experimenter, Kolkata.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533135617388{margin-bottom: 0px !important;}”]Sohrab Hura <\/strong>(1981) berkarya terutama pada area fotografi. Namun ia mencoba membongkar bentuk tersebut secara konsisten dan meluaskannya pada filem, teks dan bunyi. Tahun 2018, filemnya \u2013 T<\/em>he<\/em> Lost Head & The Bird<\/em> \u2013 <\/em>ditayangkan di Festival Film Pendek Internasional Oberhausen dimana ia mendapat penghargaan kontribusi terbaik pada kategori NRW dan menerima special mention<\/em> oleh juri di Kompetisi Internasional. Ia merupakan anggota rekanan Magnum Photos dan direpresentasikan oleh Experimenter, Kolkata.<\/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=”8543″][\/vc_column][vc_column width=”5\/12″][vc_column_text css=”.vc_custom_1533135688518{margin-bottom: 0px !important;}”]Sonal Jain<\/em><\/strong> (b. Shillong) co-founded Desire Machine Collective<\/em> in 2004. She works at the intersection of film, art, ecology, technology and activism. Her practice spans from film, video, photography, digital media, public intervention, curating to writing. Sonal is currently working on her first feature film project. One of the most revered works of the collective is Periferry \u2013 a project that bringing together artistic, scientific and technological practices. Their works have been featured in numerous international exhibitions and film festival.<\/span>[\/vc_column_text][\/vc_column][vc_column width=”5\/12″][vc_column_text css=”.vc_custom_1533135709125{margin-bottom: 0px !important;}”]Sonal Jain<\/em><\/strong> ( lahir di Shillong) merupakan salah satu pendiri Desire Machine Collective<\/em> di tahun 2004. Ia bergerak pada irisan antara filem, seni, ekologi, teknologi dan aktivisme. Aktivitasnya mencakup filem, video, fotografi, media digital, intervensi publik, kurasi hingga tulisan. Sonal kini tengah mengerjakan filem panjang pertamanya. Salah satu karya Desire Machine Collective<\/em> berjudul Periferry <\/em>merupakan sebuah proyek laboratorium yang mempertemukan kerja artistik, saintifik dan teknologis. Karya-karya Desire Machine Collective <\/em>\u00a0telah dihadirkan pada berbagai pameran dan festival filem internasional.\u00a0<\/em><\/strong><\/span>[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

\u201cYour kind salutes my cunt.\u201d This [statement] from the mouth of a transvestite in the mythical town of Pushkar is an ubiquitous statement that seems to resound through the universe we encounter in the films of Swaroop and Hura. There is no place here for the individual or the anthropocentric worldview that forms the basis of the dominant discourses today and this position is taken without an apology. There is an absence of the colonized both in the traditional sense and in the techno-science sense that Virilio talks about.<\/p>\n","protected":false},"author":1,"featured_media":8539,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Curatorial Program - 02","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":[480,481,33,501],"jetpack_publicize_connections":[],"yoast_head":"\nCuratorial Program - 02 — 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-02\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Curatorial Program - 02 — ARKIPEL\" \/>\n<meta property=\"og:description\" content=\"\u201cYour kind salutes my cunt.\u201d This [statement] from the mouth of a transvestite in the mythical town of Pushkar is an ubiquitous statement that seems to resound through the universe we encounter in the films of Swaroop and Hura. 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