{"id":9258,"date":"2019-03-15T20:26:51","date_gmt":"2019-03-15T13:26:51","guid":{"rendered":"http:\/\/arkipel.org\/?p=9258"},"modified":"2019-08-12T16:39:44","modified_gmt":"2019-08-12T09:39:44","slug":"notes-on-forum-kultursinema-3","status":"publish","type":"post","link":"https:\/\/arkipel.org\/notes-on-forum-kultursinema-3\/","title":{"rendered":"Notes on Panel 3 of Forum Discussion Series on Film Archives: Reproduction and Representation of Film Archive"},"content":{"rendered":"[vc_row][vc_column][vc_tabs][vc_tab title=”Bahasa Indonesia” tab_id=”1503218961-1-46″][vc_column_text title=”catatan panel 3 forum kultursinema” css=”.vc_custom_1553856001714{margin-bottom: 0px !important;}”]Pada Senin, 11 Maret 2019, Pameran Keliling Kultursinema diakhiri dengan panel ketiga Forum Kultursinema: Reproduksi dan Representasi Arsip Filem. Pembicara pada panel ini ialah Afrian Purnama (tim Kultursinema), Yusuf Ismail (seniman), dan Taufiqurrahman (seniman, Milisifilem Collective). Panel yang dimoderatori oleh Prashasti Wilujeng Putri ini membahas bagaimana para pembicara melihat dan menginterpretasikan arsip, dengan cara mengelola arsip menjadi suatu bentuk produk seni baru yang tentunya memiliki relevansinya sendiri.<\/span><\/p>\n

Pemaparan pertama oleh Yusuf Ismail yang mempresentasikan personanya dalam dunia internet yang dikenal dengan karakter Fluxcup. Yusuf menjelaskan apa yang dilakukan Fluxcup, yaitu membongkar ingatan-ingatan publik, kemudian subjek ingatan itu dia ubah dengan subjektivitasnya sendiri. Seperti pada ingatan masyarakat tentang filem <\/span>Pengkhianatan G30S\/PKI<\/span><\/i>, Yusuf juga mengingat adegan yang mencekam dari filem itu. Melalui Fluxcup, ia mengubah terror dalam adegan itu menjadi sebuah diskusi konyol melalui dialognya yang nirmakna. Hal serupa juga dilakukan di banyak karya-karya video Fluxcup yang diedar di Youtube, yaitu bagaimana merekonstruksi arsip-arsip yang populer dalam ingatan masyarakat dengan mengubah audio maupun susunan gambarnya.<\/span><\/p>\n

Pemaparan kemudian dilanjutkan oleh Afrian Purnama dari Kultursinema. Ia menjelaskan bagaimana Kultursinema mengelola arsip-arsip sejarah perfileman di Indonesia yang terpecah-pecah saat ini. Ada beberapa bagian sejarah sinema di Indonesia yang tidak lengkap karena arsip-arsip yang tidak terkelola dengan baik, dan bahkan ada yang dengan dihilangkan. Selain menjelaskan upaya Kultursinema dalam mengumpulkan arsip yang terpecah-pecah dan tidak terkelola dengan baik itu, Afrian mempresentasikan pula bagaimana Kultursinema berupaya merekonstruksi visual filem <\/span>Njai Dasima: Nancy Bikin Pembalesan<\/span><\/i> yang statusnya telah hilang. Rekonstruksi visual itu berdasarkan tulisan kritik yang ditulis oleh Kwee Tek Hoay di Majalah Panorama edisi 30 Juni 1930. Dalam tulisan itu, sang kritikus mengutip beberapa adegan yang oleh tim Kultursinema menjadi acuan dalam percobaan merekonstruksi adegan-adegan untuk dijadikan sebuah filem baru yang kemudian diberi judul <\/span>Si Njai<\/span><\/i>.<\/span><\/p>\n

Pembicara terakhir adalah Taufiqurrahman, seorang partisipan Milisifilem Collective dari Palu yang memiliki proyek memproduksi ulang arsip-arsip melalui sketsa. Dalam kesempatan ini Ufik memperlihatkan sketsa yang diambilnya dari adegan-adegan Bicycle Thieves. Ufik menjelaskan pilihan tangkapan-tangkapan dari filem De Sica ini berdasarkan pandangan pertama dari Antonio Ricci yang merupakan tokoh sentral. Ufik memberikan pengalaman bagi para pemirsa dengan memberikan posisi yang dilihat oleh Ricci namun dengan susunan yang dapat pilih sendiri, sehingga menghasilkan interpretasi baru pada para pemirsa. Selain itu juga, Kifu mempresentasikan bagaimana ia mengarsipkan seorang kawannya dengan narasi yang ia bangun sendiri, tanpa melunturkan karakter sebenarnya dari tokoh itu.<\/span><\/p>\n

Moderator berkomentar kepada Yusuf Ismail, bahwa Fluxcup, seorang karakter yang \u201cfiktif\u201d telah memfiksikan sebuah fiksi. Bisa dilihat dari apa yang dilakukan si Fluxcup terhadap filem <\/span>Pengkhianatan G30S\/PKI<\/span><\/i>. Dengan memberikan <\/span>dubbing<\/span><\/i>, Fluxcup mengubah persepsi masyarakat akan filem tersebut. Kemudian, moderator melanjutkan bertanya kepada Yusuf, bagaimana membedakan karya Fluxcup dan karya Yusuf sendiri. Yusuf menjawab pertanyaan moderator, bahwa dalam medan seni rupa, karyanya berupa video. Ada fisiknya, diletakkan di suatu ruang galeri. Karya-karya Yusuf Ismail sangat mempertimbangkan estetika. Sementara, karya Fluxcup sangat kebalikannya. Yusuf membuat karya-karya Fluxcup dengan disiplin karya yang sangat banal. Dengan begitu, ia ingin membukaan pintu untuk penonton untuk memahami sebuah estetika tersendiri. Dengan Fluxcup yang adalah sosok avatar dan berada di dunia internet, Yusuf berharap audiens, yang dekat dengan gadget, dapat mengerti keresahannya. Melihat ini, dibandingkan dengan karya-karya Yusuf Ismail, karya-karya Fluxcup lebih membicarakan arsip dalam konteks masa kini.<\/span><\/p>\n

Sesi tanya-jawab dimulai oleh pertanyaan dari Fausto dari LFM ITB. Ia menanyakan, sejauh mana filem yang sudah ada bisa direkonstruksi? Afrian dari Kultursinema menjawab, bahwa rekonstruksi ini juga dijadikan kritik terhadap pengarsipan negara. Sebuah filem memiliki skenario atau jejak kultural lainnya yang memperlihatkan bahwa filem itu pernah ada. Afrian menekankan bahwa arsip itu ada dan absolut, namun batas sejauh mana filem dapat direkonstruksi itu sulit, karena batas juga selalu merevisi dirinya sendiri. Melanjutkan pertanyaan Fausto, Wahyu Budiman dari Tim Kultursinema bertanya kepada Taufiqurrahman, bagaimana merekonstruksi filem <\/span>Bicycle Thief<\/span><\/i>, mengingat ini adalah filem penting. Ufik mengemukakan, bahwa rekonstruksi adalah upaya yang subjektif dari eksperimentasi visualnya.<\/span><\/p>\n

Muhammad Akbar, seorang seniman video bertanya, bahwa semua pekerjaan reproduksi arsip ini mempunyai kadar kebermainan yang banyak. Lalu ada di mana posisi audiens? Afrian mengemukakan, bahwa audiens punya sejarah pengetahuan atau sejarah visualnya masing-masing. Tim Kultursinema dalam mereproduksi arsip <\/span>Njai Dasima<\/span><\/i> berniat \u201cmengganggu\u201d audiens dengan filem baru yang dibangun dari kritik, yang visualnya juga tidak \u201cbiasa\u201d. Sedangkan Yusuf menuturkan, bahwa posisi audiens adalah sebuah instrumen baru untuk Fluxcup bisa memproduksi kritik di masa sekarang, jadi penonton adalah manifestasi atau semacam target market.<\/span><\/p>\n

Di akhir diskusi, Mahardika Yudha, selaku koordinator Tim Kultursinema, mengemukakan, bahwa membicarakan reproduksi arsip bukan hanya soal interpretasi, tapi juga reaksi. Reaksi-reaksi atas karya-karya ini muncul di era digital, dan digital memunculkan potensi. Lalu apa pilihan-pilihan para pengkarya ini? Yusuf Ismail dan Fluxcup kenapa merespons hal yang berbeda? Lalu Mahardika Yudha juga meminta Afrian menjelaskan soal karya kotak musik GANEFO yang dipamerkan, dan rekonstruksi filem <\/span>Njai Dasima<\/span><\/i>. Sedangkan untuk Ufik, Mahardika bertanya tentang stilasi gambar bergerak yang dilakukan oleh Ufik. Merespons Mahardika, Yusuf mengatakan, bahwa ia berkarya dengan merespons penonton di galeri secara terstruktur. Sedangkan, target market dari Fluxcup adalah netizen. Kedua gaya itu ditempuh dengan cara yang sama, yaitu komedi. Konten dalam karyanya cair ketika disampaikan dengan sesuai. Kemudian, Afrian merespons pertanyaan Mahardika, dengan menjelaskan, bahwa dengan kotak musik tersebut, mistifikasi GANEFO, yang adalah hal sensitif untuk dibicarakan, berusaha dihancurkan. Sedangkan, Tim Kultursinema berusaha menghadirkan rekonstruksi arsip filem <\/span>Njai Dasima<\/span><\/i> dengan filem baru, namun dengan menghilangkan simbol-simbol kulturalnya dengan latar belakang yang hitam dan penggunaan baju yang dipakai oleh aktor. Kemudian, Ufik menjelaskan, bahwa kenyataan dikonstruksi dan dimampatkan dengan media filem, dan ia melakukan pemampatan lebih lanjut filem tersebut dalam frame gambar diam. <\/span>[\/vc_column_text][\/vc_tab][vc_tab title=”English” tab_id=”1503218961-2-58″][vc_column_text title=”notes on forum kultursinema 2″ css=”.vc_custom_1553858573184{margin-bottom: 0px !important;}”]On Monday, March 11, 2019, Kultursinema Traveling Exhibition ended with panel 3 of Forum Kultursinema: Reproduction and Representation of Film Archive. The speakers in this panel are Afrian Purnama (Kultursinema team), Yusuf Ismail (artist), and Taufiqurrahman (artist, Milisifilem Collective). The panel, moderated by Prashasti Wilujeng Putri, explored how the speakers see and interpret archives in the act of transforming them into a new work of art with their own relevance.<\/span><\/p>\n

First, Yusuf Ismail presented his internet persona known as Fluxcup. He explained how Fluxcup works, which is to dismantle the public\u2019s memory, and then he puts his own subjectivity into that memory. Like how the public remembered the terror of <\/span>Pengkhianatan G30S\/PKI <\/span><\/i>film, Yusuf has his own memory of being terrorized by one of the scenes. Through Fluxcup, he transformed terror on that scene into a silly discussion through meaningless dialogues. Similar effects were done on many other Fluxcup videos on Youtube, all of them reconstructed popular archives through changing the audio or montage. <\/span><\/p>\n

The next presentation was spoken by Afrian Purnama from Kultursinema. He explained how Kultursinema managed the archives of film history in Indonesia, that are spread everywhere. Some of the parts of Indonesia\u2019s film history were incomplete because they are undermanaged, even some of them were purposefully erased. Afrian also talked about Kultursinema\u2019s attempt to reconstruct the visuals of the film <\/span>Njai Dasima: Nancy Bikin Pembalesan<\/span><\/i>, once had been stated missing. The reconstruction was based on a critique piece written by Kwee Tek Hoay on Panorama Magazine, June 30, 1930 edition. On that piece, the critic quoted a few scenes that the Kultursinema team used as the reference in their reconstruction into a new film titled <\/span>Si Njai<\/span><\/i>.<\/span><\/p>\n

The last speaker was Taufiqurrahman, a participant of Milisifilem Collective from Palu, who participated in a project of archive reproduction through sketches. Ufiq showed his sketches from the scenes of Bicycle Thieves. Ufiq explained his choice of scenes from De Sica\u2019s film, which was framed from Antonio Ricci\u2019s point of view as the central character. Ufiq provides an experience for the audience through Ricci\u2019s perspective, but they can arrange the story by themselves, creating a new interpretation. Kifu also talked about archiving a friend through a fictional narrative, without losing his friend\u2019s true character in that story.<\/span><\/p>\n

The moderator commented that Yusuf Ismail that Fluxcup, a \u201cfictional\u201d character, has fictionalized a fiction through what he had done with Pengkhianatan G30S\/PKI. Through dubbing, Fluxcup changed the public\u2019s perception on that film. The moderator then asked a question to Yusuf, how to tell apart Fluxcup\u2019s work and Yusuf\u2019s work. Yusuf explained that in the art world, he makes video art, it exists in a physical sense and can be displayed in a gallery. Yusuf\u2019s work has a certain aesthetic consideration. While Fluxcup\u2019s work may be the opposite. He creates Fluxcup\u2019s work through a banal artistic discipline, to open a door for the audience to understand another kind of aesthetic. With Fluxcup as an internet avatar, Yusuf hoped that the audience, who\u2019s always around their gadgets, can understand his concern. Through this premise, compared to Yusuf\u2019s works, Fluxcup\u2019s works talks more about the relevance of archive in today\u2019s context.<\/span><\/p>\n

The Q&A session was started by a question from Fausto, from LFM ITB. He wanted to know how far an existing film can be reconstructed? Afrian answered that this reconstruction is also a criticism towards the state\u2019s archive. A film has a script, or other cultural footprints, to prove its existence. He pointed out that archive exists, and it is absolute, but deciding a limit on how far a film can be reconstructed is difficult because the limit always revises itself. Continuing Fausto\u2019s question, Wahyu Budiman from Kultursinema team asked Taufiqurrahman, how he reconstructed <\/span>Bicycle Thief<\/span><\/i>, an important film. Ufiq answered that his reconstruction is a subjective attempt on visual experimentation.<\/span><\/p>\n

Muhammad Akbar, a video artist, asked about the audience\u2019s position in the work of archive reproduction, which has a lot of playful elements. Afrian stated that the audience has their own history of knowledge and visuals. When reproducing the archives of <\/span>Njai Dasima<\/span><\/i>, Kultursinema team attempts to disrupt the audience with a new film produced as a criticism, with an unusual visual, too. While Yusuf answered that the audience\u2019s position is a new instrument for Fluxcup to produce criticism these days, so the audience is a manifestation of market target.<\/span><\/p>\n

At the end of the discussion, Mahardika Yudha, as the coordinator of Kultursinema team, added that archive reproduction is not only about interpretation, but also reaction. Reactions to these works appear in the digital era, and digitality exudes potentiality. Then, what are the choices of the artists? Why do Yusuf Ismail and Fluxcup respond to different things? Mahardika Yudha also asked Afrian to explain about the GANEFO music box that was displayed and <\/span>Njai Dasima<\/span><\/i> film reconstruction. While for Ufiq, Mahardika asked about the moving image stillation that he had done. Responding Mahardika, Yusuf said that his creative process is a structural response to the audience in the gallery. While Fluxcup\u2019s target market is the netizen. Both styles are achieved with the same way, through comedy. The content of his work is approachable when it is expressed in the right way. Afrian, in response to Mahardika\u2019s question, explained that through the music box, they were trying to destruct GANEFO\u2019s mystification, a sensitive thing to talk about. Kultursinema team also attempted to bring the archives of <\/span>Njai Dasima<\/span><\/i> into a new film, but without the cultural symbols through a black background and the clothes the actors wear. Then, Ufiq explained that the reality is constructed and narrowed in film as a medium, and he narrowed it further in an unmoving frame. <\/span>[\/vc_column_text][\/vc_tab][\/vc_tabs][\/vc_column][\/vc_row][vc_row][vc_column][\/vc_column][\/vc_row][vc_row][vc_column][mk_image_slideshow images=”9259,9260,9261,9262″ image_width=”1100″ image_height=”600″][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

On Monday, March 11, 2019, Kultursinema Traveling Exhibition ended with panel 3 of Forum Kultursinema: Reproduction and Representation of Film Archive. The speakers in this panel are Afrian Purnama (Kultursinema team), Yusuf Ismail (artist), and Taufiqurrahman (artist, Milisifilem Collective). 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