{"id":9000,"date":"2018-08-17T17:09:59","date_gmt":"2018-08-17T10:09:59","guid":{"rendered":"http:\/\/arkipel.org\/?p=9000"},"modified":"2018-08-19T00:58:26","modified_gmt":"2018-08-18T17:58:26","slug":"homoludens-award-winners","status":"publish","type":"post","link":"https:\/\/arkipel.org\/homoludens-award-winners\/","title":{"rendered":"ARKIPEL homoludens Award Winners"},"content":{"rendered":"[vc_row][vc_column][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1534614989489{margin-bottom: 0px !important;}”]Perhelatan\u00a0<\/strong>ARKIPEL homoludens<\/i>\u2013 6th Jakarta International Documentary and Experimental Film Festival 2018 ditutup pada malam penghargaan di Goethehaus tanggal 16 Agustus, 2018<\/em>. Total sebanyak 82 judul filem dari 80 negara diputar sejak ARKIPEL dibuka oleh Forum Festival pada tanggal 8 Agustus, 2018. Selama sembilan hari terakhir kami telah menayangkan lebih dari 82 filem yang terkategori dalam program Kompetisi Internasional, Kuratorial homoludens, Candrawala, Pameran Kultursinema, Presentasi Khusus, Penayangan Khusus, dan Forum Festival.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1534615021426{margin-bottom: 0px !important;}”]The ARKIPEL homoludens<\/em> \u2013 6th Jakarta International Documentary and Experimental Film Festival 2018<\/em> was officially closed in the GoetheHaus Jakarta, August 16, 2018. There were 82 films from 80 countries over the world presented in ARKIPEL since its opening at August 8, 2018.\u00a0<\/span>This last 9 days, we have screened more than 82 films consisted of \u00a0International Competitions, homoludens Curatorial, Candrawala, Kultursinema Exhibition, Special Presentations, Special Screening, and Forum Festival.<\/span> <\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][mk_padding_divider size=”20″][vc_single_image image=”9039″ img_size=”full”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1534615051443{margin-bottom: 0px !important;}”]Tahun ini, para juri ARKIPEL homoludens<\/em> memutuskan terdapat empat kategori penghargaan, setiapnya dipilih oleh empat orang anggota dewan juri yang terdiri dari Hafiz Rancajale (Indonesia), Dave Lumenta (Indonesia), Azar Mahmoudian (Iran), dan Ronny Agustinus (Indonesia), kecuali untuk kategori Forum Lenteng Award dipilih oleh para pengurus Forum Lenteng. Keempat kategori penghargaan tersebut adalah:[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1534501465445{margin-bottom: 0px !important;}”]This year, the juror of ARKIPEL homoludens<\/em>\u00a0decided there were four award categories, each of which was chosen by the four members of the board of the jury, namely Hafiz Rancajale (Indonesia), Dave Lumenta (Indonesia), Azar Mahmoudian (Iran), and Ronny Agustinus (Indonesia), expect the Forum Lenteng Awards winner that selected by the member of Forum Lenteng. These four awards are:<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][mk_padding_divider][mk_divider style=”thin_solid” margin_top=”0″ animation=”scale-up”][vc_text_separator title=”PERANSI Award” color=”orange” border_width=”2″ css_animation=”fadeInLeft” css=”.vc_custom_1503898279201{margin-bottom: 6px !important;}”][vc_column_text animation=”scale-up” css=”.vc_custom_1534501960555{margin-bottom: 0px !important;}”]\n

Announced by Dave Lumenta<\/p>\n[\/vc_column_text][mk_divider style=”thin_solid” margin_top=”0″ animation=”scale-up”][vc_single_image image=”9032″ img_size=”full”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1534615094260{margin-bottom: 0px !important;}”]PERANSI Award\u00a0<\/strong>sengaja diperuntukkan bagi sutradara berusia di bawah 31 tahun. Tahun ini, ada empat filem yang berhak masuk dalam nominasi. Sebuah poin yang diperhatikan oleh Dewan Juri adalah bahwa semua pembuat film muda ini, dalam upaya pertama mereka, menggunakan media sinematik untuk mengikuti suatu cerita dan sejarah yang telah mereka warisi. Mereka mencoba menyambungkan kembali dan menghidupkan kembali ingatan kolektif, mengingatkan kita akan kemampuan unik medium filem dalam pembentukan pemahaman bersama.<\/p>\n

Untuk pendekatan narasinya yang halus serta lanskap visual dan bebunyian yang kuat, para juri memberikan penghargaan kepada:[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1534502801888{margin-bottom: 0px !important;}”]This year, four films were eligible for the PERANSI award<\/strong>, which is usually allocated to the under 31 years old filmmakers. A remarkable point for the jury was that all of these young filmmakers, in their first attempts, used the cinematic medium to comply with stories and histories they have inherited. They tried to reconnect and reenact collective memories, reminding us of the unique capacities of the filmic medium in formation of shared understandings.<\/span><\/p>\n

For its subtle narrative approach and its strong visual and aural landscape, the juries give the award to:<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_single_image image=”9035″ img_size=”full”][vc_text_separator title=”De Madrugada \/ At Dawn (2017, In\u00eas de Lima Torres, Portugal)” color=”orange”][\/vc_column][\/vc_row][vc_row][vc_column][mk_padding_divider][mk_divider style=”thin_solid” margin_top=”0″ animation=”scale-up”][vc_text_separator title=”JURY Award” color=”orange” border_width=”2″ css_animation=”fadeInLeft” css=”.vc_custom_1503898430753{margin-bottom: 6px !important;}”][vc_column_text animation=”scale-up” css=”.vc_custom_1534502657157{margin-bottom: 0px !important;}”]\n

Announced by Azar Mahmoudian<\/p>\n[\/vc_column_text][mk_divider style=”thin_solid” margin_top=”0″ animation=”scale-up”][vc_single_image image=”9040″ img_size=”full”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1534502718646{margin-bottom: 0px !important;}”]JURY Award<\/strong><\/p>\n

Dalam sinema, aspek ludik (atau aspek kebermainan) bisa diterjemahkan ke dalam banyak cara. Bentuk, narasi, medium. Kadangkala, bermain dengan teknologi pembuatan gambar, atau aksi merepresentasikan teknologi bermain, adalah respons yang paling gamblang untuk merujuk pada konsep homoludens<\/em>.<\/p>\n

Akan tetapi, berkebalikan dengan kecepatan dan kelugasan yang melekat pada pendekatan semacam itu, bermain dapat juga muncul dari pengamatan yang sabar, lambat, dan kontemplatif.<\/p>\n

Tindakan mengintip dalam sinema turut terhubung pula dengan lintasan historis medium ini yang mampu merekam berbagai irama kehidupan kita sehari-hari. Mengadopsi tatapan nir-manusia terhadap lanskap kehidupan fana manusia, kedua filem yang akan menerima penghargaan dalam kategori ini menawarkan dunia-dunia yang lain yang juga didiami manusia. Untuk mengapresiasi estetika yang sangat berbeda satu sama lain, Dewan Juri pada ARKIPEL ke-6 menganugerahkan Jury Award kepada dua buah karya, A Room with a Coconut View<\/strong> dari Thailand karya sutradara Tulapop Saenjaroen dan Open Skylight<\/strong> dari Serbia karya sutradara Srdjan Vukajlovic, atas petualangan kontemplatifnya dalam bentuk maupun konten yang sinematik.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1534502842564{margin-bottom: 0px !important;}”]JURY Award<\/strong><\/span><\/p>\n

In cinema, the ludic element might be translated into many ways; form, narrative, or medium. Sometimes to play with technologies of image making, or to represent technologies of play, would be the most obvious answers in refering the concept of homoludens<\/em>.<\/span><\/p>\n

However, acutely in contrast to the accelerated playfulness inherent in such approaches, an act of play could also appears from a very patient observation; a slow and contemplative one.<\/span><\/p>\n

The act of voyeuring in cinema resonates the historical trajectory of this medium in capturing the many rhythms of our everyday life. Adopting a non-human gaze to the landscapes of humans\u2019 mundane life, the two films awarded in this category propose other worlds in which humans occur. Appreciating their entirely different aesthetics,\u00a0the jury of the 6th ARKIPEL festival gives the Jury Award jointly to A Room with a Coconut View <\/strong>from Thailand by the director Tulapop Saenjaroen and Open Skylight <\/strong>from Serbia by the director Srdjan Vukajlovic for their contemplative adventures in cinematic form and content.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_single_image image=”9034″ img_size=”full”][vc_text_separator title=”A Room with a Coconut View (2018, Tulapop Saenjaroen, Thailand)” color=”orange”][vc_single_image image=”9036″ img_size=”full”][vc_text_separator title=”Svetlarnik \/ Open Skylight (2018, Srdjan Vukajlovic, Serbia)” color=”orange”][\/vc_column][\/vc_row][vc_row][vc_column][mk_padding_divider][mk_divider style=”thin_solid” margin_top=”0″ animation=”scale-up”][vc_text_separator title=”FORUM LENTENG Award” color=”orange” border_width=”2″ css_animation=”fadeInLeft” css=”.vc_custom_1503904048900{margin-bottom: 6px !important;}”][vc_column_text animation=”scale-up” css=”.vc_custom_1534502930862{margin-bottom: 0px !important;}”]\n

Announced by Prashasti Wilujeng Putri<\/p>\n[\/vc_column_text][mk_divider style=”thin_solid” margin_top=”0″ animation=”scale-up”][vc_single_image image=”9041″ img_size=”full”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1534502971577{margin-bottom: 0px !important;}”]Forum Lenteng Award<\/strong><\/p>\n

Filem selalu merupakan persoalan objek dan subjek. Bagaimana hubungan antara keduanya menjadi persoalan yang tak ada habisnya. Kerap masyarakat yang lebih tidak memiliki akses terhadap teknologi, menjadi objek amatan, yang diposisikan lebih inferior.<\/p>\n

Lalu, apakah teknologi kamera (video) yang semakin ringan dan menyatu dengan tubuh pemegangnya bisa memperkecil jarak yang menimpangkan posisi salah satu\u00a0 pihak tersebut?<\/p>\n

Mengambil ide tentang \u201cruang gema\u201d yang dicetuskan Kidlat Tahimik dalam kunjungannya di festival ARKIPEL homoludens<\/em>, \u201cgema\u201d yang ingin berkumandang dalam ruang belajar pembuat filem sekarang ini adalah gema yang ditiupkan sejak lama dari arah lokasi tempat teknologi kamera itu ditemukan:<\/p>\n

Bahwa konstruksi penciptaan sebuah ide kreatif dalam bingkai sinema, adalah sebuah paket lengkap yang sudah terkemas rapi dalam bungkusan perangkatnya.<\/strong><\/p>\n

Dengan keputusan menolak \u201cruang gema\u201d tersebut, filem ini cukup berhasil memberi kemungkinan memperkecil jarak antara objek dengan subjek, pengamat dengan hasratnya, masyarakat urban dengan hulunya, teknologi media dengan pengetahuan yang dikandungnya, maka Forum Lenteng memutuskan untuk menganugerahkan Forum Lenteng Award kepada Rimba Kini<\/strong> dari Indonesia karya Wisnu Dewa Broto.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1534503021315{margin-bottom: 0px !important;}”]FORUM LENTENG Award<\/strong><\/span><\/p>\n

Film has always been a matter of objects and subjects. How the relationship between these two become an endless problem. Often people who lack access to technology become the objects of observation, which are positioned as inferior.<\/span><\/p>\n

Then, is the camera technology (video) that is getting lighter and more integrated with the body of the beholder can reduce the distance that overrides the position of one of the parties?<\/span><\/p>\n

Taking on the idea of the “echo chamber” expressed by Kidlat Tahimik during his visit to the ARKIPEL homoludens<\/em> festival, the “echo” that wants to reverberate in the chamber of today’s filmmaking study is the echo that has long blown from the direction of the location where the camera technology was found:<\/span><\/p>\n

That the construction of the creation of creative idea in the cinema frame, is a complete package that has been neatly packed in the bundle of a devices.<\/strong><\/span><\/p>\n

With the decision to defy the “echo chamber”, this film is able to achieve the possibility to reduce the distance between the object and subject, observers and their desires, urban communities and the upstream, media technology and the knowledge they contain, Forum Lenteng decides to give the Forum Lenteng Award to Rimba Kini <\/strong>from Indonesia by director Wisnu Dewa Broto.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_single_image image=”9038″ img_size=”full”][vc_text_separator title=”Rimba Kini (Wisnu Dewa Broto, 2017, Indonesia)” color=”orange”][vc_single_image image=”9042″ img_size=”full” add_caption=”yes”][\/vc_column][\/vc_row][vc_row][vc_column][mk_padding_divider][mk_divider style=”thin_solid” margin_top=”0″ animation=”scale-up”][vc_text_separator title=”ARKIPEL Award” color=”orange” border_width=”2″ css_animation=”fadeInLeft” css=”.vc_custom_1503907425498{margin-bottom: 6px !important;}”][vc_column_text animation=”scale-up” css=”.vc_custom_1534503132881{margin-bottom: 0px !important;}”]\n

Announced by Ronny Agustinus<\/p>\n[\/vc_column_text][mk_divider style=”thin_solid” margin_top=”0″ animation=”scale-up”][vc_single_image image=”9043″ img_size=”full”][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1534503165114{margin-bottom: 0px !important;}”]ARKIPEL<\/strong> Award<\/strong><\/p>\n

Sebuah penggambaran tentang kemanusiaan pada relung tergelapnya. Namun yang ganjil, ia justru hadir dalam keceriaan, kebermain-mainan yang luar biasa hingga mencapai titik kegilaan yang gelap dan serba sarkas. Kebermainan bukan hanya hadir dalam komposisi narasi filem, tetapi juga menubuh pada pembentukan subyektivitas. Ia tak hanya mempertanyakan tentang apa itu yang serius dan yang bermain, namun lebih luas, juga tentang apa itu kenyataan dan yang mana yang disebut sebagai sinema.<\/p>\n

Sebuah persembahan non-romantik terhadap kekuatan Sensualitas, sebuah filem pada ARKIPEL tahun ini membawa kita pada sebuah perjalanan spiritual. Dengan sebuah pemahaman afektif pada zaman ini, filem ini juga menyoroti urgensi untuk bermain dalam proses manuver terhadap struktur sosial dan tabu.<\/p>\n

Pilihan kami untuk ARKIPEL Award pada tahun ini jatuh kepada The Fly Misery of Quame Nyantakyi <\/strong>dari Belanda karya sutradara Jan Willem van Dam.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1534503251804{margin-bottom: 0px !important;}”]ARKIPEL Award<\/strong><\/span><\/p>\n

A depiction of humanity in its darkest niche. But oddly enough, he was present in joy, extraordinary playfulness until it reaches the point of dark and sarcastic madness. Play is not only present in the composition of narratives, but is also embodied in formation of subjectivities. He is not only questioning about what is serious and playful, but broader than that, about what is real and which one is cinema.<\/span><\/p>\n

A non-romantic homage to the power of Sensuality, one film in this year ARKIPEL takes us to an unusual spiritual journey. With an affective understanding of our current time, it sheds light on the urgency of\u00a0play in manuevering societal structures and taboos.<\/span><\/p>\n

Our selection for the ARKIPEL Award of this year is The Fly Misery of Quame Nyantakyi <\/strong>from the Netherlands by the director Jan Willem van Dam.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_single_image image=”9037″ img_size=”full”][vc_text_separator title=”The Fly Misery of Quam\u00e9 Nyantakyi (2018, Jan Willem van Dam, the Netherlands)” color=”orange”][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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