{"id":8552,"date":"2018-08-01T23:30:51","date_gmt":"2018-08-01T16:30:51","guid":{"rendered":"http:\/\/arkipel.org\/?p=8552"},"modified":"2018-08-01T23:30:51","modified_gmt":"2018-08-01T16:30:51","slug":"curatorial-program-04","status":"publish","type":"post","link":"https:\/\/arkipel.org\/curatorial-program-04\/","title":{"rendered":"Curatorial Program – 04"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1533138691213{margin-bottom: 0px !important;}”]\n

Differentiating Landscape: Polemics of Form as A Strategy to Overcome the Narrative Fetishism<\/strong>
\nMendiferensiasi Lanskap ke dalam Polemik Bentuk sebagai Siasat atas Fetisisme Naratif<\/em><\/h2>\n

Curator: Manshur Zikri
\n–<\/strong>
\nSaturday, August 11, 2018 | 04:00 – 05:15 pm | GoetheHaus<\/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_1533139357418{margin-bottom: 0px !important;}”]\n

As Nicky Hamlyn argued, what is often characteristic of the narrative of a film, generally in mainstream works, is: the meaning of the image’s referent occupies a position beyond questions of the film itself. In other words, the meaning is already determined (by the director). Whereas the works with an experimental approach tend to deliberately deal with epistemological difficulties to question the pre-given meaning of representations, in the framework of its vision to become a critical-reflexive film\u2014 it\u2019s usually about its medium; and the subject of the film is its own generational strategies.[1]\u00a0<\/a>This view seems to be consistent with the belief that, the construction of a moving image in the context of a work of film, whether it will be \u201cnarrative\u201d or not, is the filmmaker\u2019s main focus in building the dramatical force of the film, and it is the primary polemical area of the filmmaker in creating cinematic events.[2]<\/sup><\/a><\/p>\n

The curatorial tries to situate the notion of ludo<\/i> (\u2018play\u2019) with certain modifications of the framework mentioned above, into the context of the relationship between humans, cameras, and\u2014as the film\u2019s subject matter\u2014the spaces. The interaction between the camera and the reality it captures may produce a style of language which on the one hand appear to demarcate the space of human existence, the place of human circulation, and the human movement into sequential visual vocabularies in the sense of structural\/materialist logic. On the other hand, however, the mode and motive for such construction can also multiply the effect of cinematic excavations on the characteristics of the \u201chistorical present\u201d of the event\/space that camera is exposing.<\/p>\n

The differentiation that tends to lead to the play of form (lines, shapes, perspective, and rhythm of sounds) indicates an attempt of liberating the representation from its referential meanings. The pieces of representative reality constructed into the film in fact function as methodical elements, rather than premises leading to a conclusion, in order to philosophically approach the other dimensions\u2014that is the experience of seeing and hearing; a sensory-based experience rather than a rational articulation\u2014of the actual or historical issues brought into the film, both in the context of macro space and micro space.<\/p>\n

The red thread of three films presented into this curatorial is they have the same point of depart: architectural subject, although of course their specific subject and analytical direction are different from each other. The site or the space explored by the film is essentially historical; the focus of each filmmaker is the interpretation of the site\u2019s actual condition or the scenery landscape characterising its current present. About Now MMX<\/i> (2010, 35mm, colour, sound, 28min) by William Raban is a film about urban sights which shot from the Balfron Tower (Erno Goldfinger\u2019s architectural works, 1965, in his social housing project) before its refurbishment that changed it as luxurious residencies. Emily Richardson\u2019s Beach House<\/i> (2015, HD video, colour, sound, sound) is a film about the Beach House, a house built by the architect John Penn in Suffolk, UK, which is one example of a product of rural modern development. Meanwhile, Helen Petts\u2019 Throw Them Up and Let Them Sing<\/i> (2012, HD video, colour, sound, 30min) is a film that explores the locations that the artist Kurt Schwitters had once visited; and it deconstructs the mythologised narrative of the artist\u2019s architectural works.<\/p>\n

The issues raised by these three films respectively, however, are inseparable from the context of how a location or space essentially keeps traces created from the interaction between human and space. It is such a trace that, due to the growing social and cultural factors, often leads us constructively to fetishism over the narratives that shape or are shaped by the existing space. However, their style of language reveals that these three filmmakers overcome such vulnerability by shifting the issue\u2019s polemic solely to the realm of assumptions, and not make it as the goal of the construction of the film. In other words, the meanings of either historical or contemporary myths are deliberately avoided or intentionally not contained in their constructive representation. And for that purposes, the focus of the film is consciously directed to the polemics of form. Through this method, the audience is not in the condition of being offered any information (or controlled within the narrative framework) but is invited to communicate in an equal relationship to the filmic events created by the filmmaker.<\/p>\n

Through these three films, we can understand that when capturing the events of the time-wiped spaces (where we can track the former human presence only through the traces dispersed in the objects recording the site\u2019s past) or the areas which are now existing with their complexity (representing the advanced intervention of the modernity), the camera observation can be done by not to be descriptive or allegorical, but rather as a way of seeing. Instead of aiming to unfold the hidden issues behind the site\/space, this way will open up new anthropocentric questions of the relationship between space and humans.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533139237980{margin-bottom: 0px !important;}”]\n

Merujuk kepada Nicky Hamlyn, diketahui bahwa yang kerap menjadi karakteristik dari naratif suatu filem, umumnya pada karya-karya arus utama, ialah: makna dari rujukan image<\/i> menempati suatu posisi di luar pertanyaan-pertanyaan filem itu sendiri. Dengan kata lain, maknanya telah ditentukan (oleh si sutradara); sedangkan karya-karya dengan pendekatan eksperimental cenderung dengan sengaja menghadapi kesulitan-kesulitan epistemologis untuk mempertanyakan makna representasi yang belum terberi, dalam rangka visinya untuk menjadi sebuah gaya ungkap berupa refleksi kritis\u2014sering kali terhadap mediumnya\u2014dan yang menjadi subjek filemnya adalah strategi dalam meng-generate<\/em> visual.[1]\u00a0<\/sup><\/a><\/span>Pandangan ini agaknya sejalan dengan kepercayaan bahwa, konstruksi gambar bergerak dalam konteks sebuah karya filem, terlepas apakah ia akan \u201cbernarasi\u201d atau tidak, merupakan fokus utama seorang sutradara dalam membangun dramatik filemnya, dan itu menjadi area polemis utama si pengkarya dalam menciptakan peristiwa sinematik.[2]<\/sup><\/a><\/span><\/p>\n

Kuratorial ini mencoba mensituasikan pengertian ludo<\/i> (\u2018permainan\u2019) dengan modifikasi tertentu dari kerangka berpikir tersebut di atas, ke dalam konteks hubungan antara manusia, kamera, dan ruang-tangkapannya. Interaksi antara kamera dan realitas yang ditangkapnya dapat menghasilkan penuturan yang di satu sisi tampak mendemarkasi ruang eksistensi, ruang sirkulasi, dan gerak manusia menjadi rangkaian kosakata visual yang bersifat material dan struktural. Akan tetapi, di sisi lain, cara dan alasan konstruksi seperti ini dapat pula memiliki efek berupa penggalian sinematik terhadap karakteristik \u201ckekinian historis\u201d dari apa yang tengah dibongkar kamera tersebut<\/span><\/p>\n

Diferensiasi yang cenderung mengarah ke permainan bentuk (garis, bidang, perspektif, dan ritme bunyi) mengindikasikan upaya pembebasan representasi dari makna-makna referensialnya, dan potongan-potongan realitas representatif yang dikonstruk justru berfungsi sebagai elemen-elemen metodis (alih-alih premis yang menuju konklusi) untuk secara filosofis mendekati dimensi lain\u2014yaitu pengalaman melihat dan mendengar; pengalaman berbasis rasa ketimbang berupa artikulasi rasional\u2014dari isu aktual ataupun sejarah yang dicoba diangkat ke dalam filem, baik dalam lingkup ruang yang bersifat makro maupun mikro.<\/span><\/p>\n

Tiga filem yang disajikan ke dalam kuratorial ini berangkat dari titik persoalan yang memiliki benang merah yang sama: arsitektural, meskipun tentunya subjek spesifik dan arah penelaahannya berbeda satu sama lain. Lokasi atau ruang yang dibongkar ke dalam filem, esensial secara historis; fokus masing-masing sutradara ialah interpretasi atas kondisi aktual dari lokasi tersebut ataupun penampakan-penampakan yang kemudian melanskapi kekiniannya. About Now MMX<\/i> (2010, 35mm, colour<\/i>, sound<\/i>, 28min) karya William Raban adalah filem tentang pemandangan urban yang ditangkap dari atas Balfron Tower (karya arsitektur Erno Goldfinger, 1965, dalam proyek social housing<\/i>-nya), sebelum menara itu direnovasi untuk dijadikan sebagai area residensi mewah. Beach House<\/i> (2015, HD video, colour<\/i>, sound<\/i> 17min) karya Emily Richardson adalah filem tentang Beach House, sebuah bangunan rumah karya arsitek John Penn di Suffolk, Inggris, yang menjadi salah satu contoh dari produk dalam pembangunan modern di wilayah rural\/pedesaan. Sementara itu, Throw Them Up and Let Them Sing<\/i> (2012, HD video, colour<\/i>, sound<\/i>, 30min) karya Helen Petts merupakan filem yang mencoba menjelajahi lokasi yang pernah didiami oleh seniman Kurt Schwitters sekaligus mendekonstruksi narasi yang termitologisasi dari karya-karya arsitektural seniman tersebut.<\/span><\/p>\n

Isu yang diangkat ketiga filem ini, bagaimana pun, memang tidak terlepas dari konteks bagaimana sebuah lokasi atau ruang pada dasarnya menyimpan suatu kelumit yang tercipta dari interaksi antara manusia dan ruang; kelumit itulah yang secara konstruktif\u2014akibat faktor-faktor sosial dan budaya yang berkembang\u2014sering mengarahkan kita pada fetisisme atas narasi-narasi yang membentuk ataupun yang dibentuk oleh ruang yang ada. Namun, gaya ungkap ketiga sutradara ini menyiasati kerentanan tersebut dengan cara menggeser polemik isu semata-mata ke ranah asumsi dan tidak menjadikannya sebagai tujuan dari konstruksi filemnya. Dengan kata lain, makna-makna tentang mitos, baik historis maupun kontemporer, dilewatkan atau dengan sengaja tidak dikandungkan ke dalam representasi yang mereka konstruk, dan untuk tujuan itu, fokus filem dengan sadar diarahkan ke polemik bentuk. Lewat metode ini, penonton bukan ditawarkan suatu informasi (atau dikontrol dalam kerangka naratif), melainkan diajak berkomunikasi dalam hubungan yang setara dengan kejadian filemis yang dimainkan oleh sutradara.<\/span><\/p>\n

Lewat ketiga filem ini, kita dapat memahami bahwa ketika memenggal peristiwa-peristiwa pada ruang-ruang yang telah tersapu waktu (di mana bekas kehadiran manusia hanya dapat ditelusuri lewat jejak-jejak yang tertinggal di dalam objek-objek yang merekam memori tentang kondisi lampau dari ruang tersebut), atau pada ruang yang kini hadir dengan wujud terkompleksnya (sebagai representasi dari intervensi lanjut dari modernitas), observasi kamera dapat dilakukan bukan bertujuan deskriptif ataupun alegorikal untuk mengiaskan isu-isu yang terpendam di balik ruang tersebut, tetapi lebih sebagai cara melihat yang membuka pertanyaan baru tentang aspek antroposentrik dari hubungan antara ruang dan manusia.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533139052091{margin-bottom: 0px !important;}”]Endnotes<\/strong><\/span><\/p>\n

[1]<\/a> See Nicky Hamlyn’s discussion of the two films, About Now MMX<\/em> (2010) by William Raban and Ex Library<\/em> (2006) by William English in “Two ‘Machine’ Films: About Now MMX and Ex Library”, March 2016, accessed from the website senses of cinema http:\/\/sensesofcinema.com\/2016\/british-experimental\/machine-films\/#fn-26406-1<\/a> on July 22, 2018, at 2:53 pm.<\/p>\n

[2]<\/a> This view, among others, was developed by Peter Gidal in Structural Film Anthology<\/em> (London: British Film Institute, 1978).[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533139250598{margin-bottom: 0px !important;}”]Endnotes<\/strong><\/span><\/p>\n

[1]<\/a> Lihat pembahasan Nicky Hamlyn yang mengomparasi dua filem, About Now MMX<\/em> (2011) karya William Raban dan Ex Library<\/em> (2006) karya William English di \u201cTwo \u2018Machine\u2019 Films: About Now MMX and Ex Library\u201d, Maret 2016, diakses dari situs web senses of cinema<\/em> http:\/\/sensesofcinema.com\/2016\/british-experimental\/machine-films\/#fn-26406-1<\/a> pada tanggal 22 Juli 2018, pukul 02:53 pm.<\/span><\/p>\n

[2]<\/a> Pandangan ini, salah satunya, dikembangkan oleh Peter Gidal dalam Structural Film Anthology<\/em> (London: British Film Institute, 1978).<\/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=”8559″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533139964866{margin-bottom: 0px !important;}”]\n

About Now MMX<\/strong><\/h4>\n

Filmmaker<\/em>\u00a0 William Raban<\/strong> (UK)
\nCountry of Production<\/em>\u00a0 UK<\/strong>
\nLanguage<\/em>\u00a0 –<\/strong>
\nSubtitles<\/em>\u00a0 –<\/strong><\/p>\n

28 mins, colour, stereo, 16:9, 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_1533139992473{margin-bottom: 0px !important;}”]\n

Shot from the 21st floor of the iconic Balfron Tower, the film takes in the city of London below. Filmed mostly in time-lapse with the camera tracking across this aerial field of view, the intention is to create a cinematic map that exposes the neural networks of the post-modern metropolis; producing a film that reveals the workings of London\u2019s nervous system.<\/p>\n

\u2014<\/i><\/p>\n

The synopsis is retrieved from the LUX\u2019s website<\/p>\n

(https:\/\/lux.org.uk\/)<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533140027821{margin-bottom: 0px !important;}”]Dibidik dari lantai 21 Balfron Tower yang ikonik, filem ini merekam keadaan kota London. Dikonstruk dengan gaya time-lapse, kamera menelusuri seluruh bagian yang dapat terpandang, dalam niatannya menciptakan suatu peta sinematis yang mengungkap jaringan neural dari sebuah metropolis posmodern; filem ini memperlihatkan semacam jaringan sistem saraf dari gerak kota London.<\/span><\/p>\n

\u2014<\/p>\n

Sinopsis diringkas dari situs web LUX<\/span>
\n(https:\/\/lux.org.uk\/)<\/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=”8561″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533140115704{margin-bottom: 0px !important;}”]\n

William Raban<\/b> (1948, Fakenham). BA painting, Saint Martins School of Art 1971; MA (Fine Art) Reading University 1974. Manager of London Filmmakers Co-Op Workshop 1972-6. Published bi-monthly Filmmakers\u2019 Europe 1977-81. Part-time senior lecturer in Film at Saint Martin\u2019s School of Art 1976-89. Reader in Film at University of the Arts, London. Member of editorial board Vertigo film magazine.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533140138527{margin-bottom: 0px !important;}”]\n

William Raban<\/b> <\/i>(1948, Fakenham). Sarjana seni lulusan Saint Martins School of Art (1971), Master senirupa Reading University (1974). Pendiri dan pengelola Filmmakers Co-Op (1972-1976) dan terbitan dwi-bulanan Filmmakers\u2019 Europe (1977-1981). Mengajar filem di Saint Martin\u2019s School of Art (1976-1989). Anggota dewan editorial majalah Vertigo ini juga menjadi Reader di University of the Arts, London.<\/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_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=”8558″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533140346159{margin-bottom: 0px !important;}”]\n

Beach House<\/strong><\/h4>\n

Filmmaker<\/em>\u00a0\u00a0Emily Richardson<\/strong> (UK)
\nCountry of Production<\/em>–UK<\/strong>
\nLanguage<\/em>\u00a0 –<\/strong>
\nSubtitles<\/em>\u00a0 –<\/p>\n

17 min, colour\/b&w, stereo 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_1533140363028{margin-bottom: 0px !important;}”]\n

Beach House<\/i> is a film about a unique example of rural modernism. The Beach House built on the UK coast of Suffolk by architect John Penn. The building is one of John Penn\u2019s most uncompromising designs in terms of idea as form. The film combines an archive film made by Penn himself on completion of the house with experimental sound recordings made during the same period and material recently filmed in the house to explore a convergence of filmic and architectural language and allow the viewer to piece together Beach House in its past and present forms.<\/p>\n

\u2014<\/i><\/p>\n

The synopsis is retrieved from the LUX\u2019s website<\/p>\n

(https:\/\/lux.org.uk\/)<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533140393194{margin-bottom: 0px !important;}”]\n

Beach House<\/i> adalah sebuah filem tentang contoh unik dari modernisme pedesaan. Rumah Beach House, yang dibangun di pantai Suffolk, Inggris, oleh arsitek John Penn. Bangunan itu adalah salah satu dari desain radikal Penn dalam hal ide bentuk. Filem ini menggabungkan arsip filem yang dibuat oleh Penn, rekaman suara eksperimental yang juga dibuat pada periode yang sama, dan rekaman yang diproduksi oleh Richardson sendiri di dalam rumah tersebut. Beach House<\/i> mengeksplorasi konvergensi bahasa filem dan arsitektur dan memungkinkan pemirsa untuk mengalami Beach House secara bersamaan dalam bentuk masa lalu dan masa kininya.<\/span><\/p>\n

\u2014<\/i><\/span><\/p>\n

Sinopsis diringkas dari situs web LUX<\/span><\/p>\n

(https:\/\/lux.org.uk\/)<\/span><\/p>\n[\/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=”8562″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533140450829{margin-bottom: 0px !important;}”]\n

Emily Richardson<\/b> is a filmmaker whose work explores our relationship to our physical environment and the role image making technologies play in defining, changing and shaping it. She has recently completed a practice-led PhD at the Royal College of Art researching the translation of architectural space to filmic space through a trilogy of films about British architects prototype houses of the 1960s. Her films have been shown in galleries, museums and festivals internationally.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533140477826{margin-bottom: 0px !important;}”]\n

Emily Richardson<\/b> adalah pembuat filem yang karyanya mengeksplorasi hubungan manusia dengan lingkungan, dan peran teknologi pembuatan gambar dalam mendefinisikan, mengubah, dan membentuk hubungan itu. Dia baru saja menyelesaikan PhD di Royal College of Art yang meneliti terjemahan ruang arsitektur ke ruang filem melalui trilogi filem tentang purwarupa arsitek Inggris tahun 1960-an. Film-filmnya telah ditampilkan di galeri, museum dan festival internasional.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][vc_tta_tabs][vc_tta_section title=”FILMWORK” tab_id=”1533140496179-707e7fbb-0f6f”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”8560″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533140597371{margin-bottom: 0px !important;}”]\n

Throw Them Up and Let Them Sing<\/strong><\/h4>\n

Filmmaker<\/em>\u00a0\u00a0Helen Petts<\/strong> (UK)
\nCountry of Production<\/em>–UK<\/strong>
\nLanguage<\/em>\u00a0 –<\/strong>
\nSubtitles<\/em>\u00a0 –<\/p>\n

30 min, colour\/b&w, 5.1 surround, 16:9, 2012[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533140617475{margin-bottom: 0px !important;}”]\n

Helen Petts explores the uninhabited Norwegian island of Hjertoya, where Kurt Schwitters in his period of exile from Nazi Germany lived in a tiny hut which he made into a \u201cMerzbau\u201d, and the Elterwater in the Lake District, where he later created the English Merzbarn. The film explores the two mythologised structures and the landscapes around them. Shot on small digital stills cameras and worked in collaboration with experimental musicians improvising with found objects and vocal sounds, the film explores rhythms, textures and surfaces in the landscape, referencing Schwitters\u2019 work from this period and archive photographs.<\/p>\n

\u2014<\/i><\/p>\n

The synopsis is retrieved from the LUX\u2019s website<\/p>\n

(https:\/\/lux.org.uk\/)<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1533140636974{margin-bottom: 0px !important;}”]\n

Helen Petts menjelajahi pulau Hjertoya, Norwegia, yang tidak berpenghuni, di mana seniman Kurt Schwitters pada masa pengasingannya dari Nazi Jerman tinggal di gubuk kecil yang ia buat menjadi \u201cMerzbau\u201d, dan Elterwater di Lake District, di mana si seniman kemudian menciptakan Merzbarn versi Inggris. Filem ini mengeksplorasi struktur yang termitologisasi dari dua hal tersebut, serta lanskap-lanskap yang mengitarinya. Direkam menggunakan kamera digital kecil dan bekerja sama dengan musisi eksperimental yang berimprovisasi dengan objek temuan dan suara vokal, filem ini mengeksplorasi ritme, tekstur dan permukaan dari lanskap-lanskap lokasi, dengan merujuk karya dan metode Schwitters pada periode tersebut dan sejumlah arsip foto.<\/span><\/p>\n

\u2014<\/i><\/span><\/p>\n

Sinopsis diringkas dari situs web LUX<\/span><\/p>\n

(https:\/\/lux.org.uk\/)<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1533140496739-34ea193c-3ce3″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8563″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533140743372{margin-bottom: 0px !important;}”]\n

Helen Petts<\/b> is a British artist filmmaker who explores rhythm, texture, sound and chance events, both in the rural landscape and with experimental musicians. She has worked in community video, and made films for TV, but she now shows her work in art galleries and festivals. She studied Fine Art at Goldsmith\u2019s College and Film at Westminster University, London. Her work is distributed by LUX Artists Moving Image.<\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1533140761663{margin-bottom: 0px !important;}”]\n

Helen Petts<\/b> <\/i>merupakan seniman dan pembuat filem asal Inggris yang kerap mengeksplorasi ritme, tekstur, suara, dan peristiwa-peristiwa yang terjadi secara kebetulan, baik di lanskap pedesaan maupun dalam hubungannya dengan musisi eksperimental. Ia bekerja dengan komunitas video dan membuat filem untuk TV, tetapi kini ia kerap menampilkan karya-karyanya di berbagai galeri seni dan festival. Dia menempuh pendidikan Seni di Goldsmith\u2019s College dan studi Filem di Westminster University. Karya-karyanya kini didistribusikan oleh Lux Artists Moving Image.<\/i><\/span><\/p>\n[\/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=”8119″][\/vc_column][vc_column width=”5\/12″][vc_column_text css=”.vc_custom_1533140918867{margin-bottom: 0px !important;}”]\n

Manshur Zikri<\/b> (Pekanbaru, 1991) is a film critic and curator, a member of Forum Lenteng, in charge of AKUMASSA program. He graduated Criminology at the University of Indonesia in 2014. He is also the research coordinator for www.senimedia.id.<\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”5\/12″][vc_column_text css=”.vc_custom_1533140879574{margin-bottom: 0px !important;}”]\n

Manshur Zikri<\/b> (Pekanbaru, 1991) adalah kritikus dan kurator filem, anggota Forum Lenteng, mengurus Program AKUMASSA. Lulus dari Departemen Kriminologi, Universitas Indonesia, pada tahun 2014. Ia kini juga koordinator riset untuk www.senimedia.id.<\/span><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

As Nicky Hamlyn argued, what is often characteristic of the narrative of a film, generally in mainstream works, is: the meaning of the image’s referent occupies a position beyond questions of the film itself. 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