{"id":932,"date":"2013-07-21T23:16:00","date_gmt":"2013-07-21T16:16:00","guid":{"rendered":"http:\/\/arkipel.org\/?page_id=932"},"modified":"2017-08-08T04:12:12","modified_gmt":"2017-08-07T21:12:12","slug":"images-festival","status":"publish","type":"post","link":"https:\/\/arkipel.org\/images-festival\/","title":{"rendered":"Images Festival"},"content":{"rendered":"

in collaboration with<\/small> Images Festival<\/strong><\/p>\n

\"if2014_yearround_arkipel_outlines\"<\/p>\n[mk_divider style=”thin_solid” divider_width=”full_width” custom_width=”10″ align=”center” border_color=”#cccccc” thickness=”1″ margin_top=”40″ margin_bottom=”60″]\n[vc_row][vc_column width=”1\/1″][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”true” align=”left” margin_bottom=”0″]\n

Program I:\u00a0River and My Father<\/i><\/h3>\n

sutradara<\/small> Luo Li
\n<\/strong>Kanada\/Cina, video, 75 min, 2010<\/p>\n

Film ini adalah kombinasi subtil antara pembuatan film dokumenter dan fiksi. Karya menakjubkan dari Luo Li ini terinspirasi dari cerita-cerita masa kecil Ayahnya sendiri. Desain tata suara, gambar dan narasi secara kreatif disuguhkan oleh Luo Li mirip dengan bagaimana kerja ingatan. Luo Li dan keluarganya dibesarkan di sepanjang Sungai Yangtze (Chang Jiang) di Cina yang juga menjadi latar belakang di mana cerita film diungkap. Jika dilihat sekilas dari waktu dan ruang, serta kaitannya dengan cara-cara migrasi di zaman sekarang, cerita-cerita dalam film ini mengalir seperti sungai pada peta masa lalu. Film dimulai di kantor dan lorong-lorong York University dengan memperlihatkan seorang karyawan yang akan pensiun. Pria ini berbicara tentang berlalunya waktu dan bagaimana tahun 2010 dulunya terasa seperti masa depan yang jauh. Percakapan ini menandai \u2018warna\u2019 film ini, di mana detil-detil yang terjadi pada hidup sehari-hari terasa universal. Pengalaman-pengalaman pribadi yang unik dipahami lebur dalam perasaan kolektif, sebagaimana yang dikemukakan oleh Luo Li, “masa peralihan dan masa ketidakpastian.”<\/p>\n

Gambar dari peta perpustakaan di Universitasnya tertebar ke jalanan hujan di Cina. Cerita-cerita keluarga Li dimulai di sini dan diilustrasikan oleh sinematografi yang elegan, elipsis, dan berulang-ulang: anak laki-laki dan seorang wanita berjalan menaiki tangga, seorang pria berenang di kolam air yang besar, tiga anak laki-laki berjalan di sepanjang tepi sungai. Persepsi penonton akan keabadian, pecah dan “masa peralihan” diperjelas dengan fakta bahwa cerita-cerita dari masa lalu diilustrasikan dengan gambar-gambar kekinian.<\/p>\n

Visualnya tidak langsung merujuk narasi yang ada, terkadang rujukan gambar bisa lebih awal atau belakangan dari narasi voice over, sebuah teknik yang menciptakan penundaan kejelasan dan logika cerita secara menarik. Li menjelaskan bahwa motivasinya membuat film ini tidak sekedar untuk mendokumentasikan kisah-kisah pribadi keluarganya, tetapi juga untuk menampilkan apa-apa saja yang memengaruhi kehidupan orang-orang Cina di masa lalu, bagaimana kehidupan mereka dipengaruhi oleh lingkungan tempat mereka dibesarkan, dan bagaimana kenangan mereka bersinggungan dengan masa kini. Li menulis:. “Bersama-sama, kisah-kisah pribadi lintas generasi ini menjadi sebuah alegori dari sejarah modern Cina …. Sejarah sering didominasi oleh narasi besar yang berpusat pada peristiwa penting dan tokoh-tokoh kuat. Namun saya percaya bahwa kenangan pribadi manusia biasa sama pentingnya. Kenangan ini dapat memberikan kita sudut dan perspektif yang berbeda untuk melihat masa kini dan untuk merencanakan masa depan … Dengan film ini saya berharap telah berkontribusi mendokumentasikan dan melestarikan sejarah lokal melalui representasi cerita dan kenangan dari orang biasa. ”<\/p>\n

Luo Li\u00a0adalah pembuat film independen. Ia lahir dan dibesarkan di Cina. Ia belajar produksi film dan menyelesaikan MFA di Kanada. Karya Li telah diputar secara internasional di festival film dan galeri-galeri antara lainnya Arsenal (Berlin), Cinematheque Ontario (Toronto), Images Festival (Toronto), Nouveau Cinema International Film and New Media Festival (Montreal), Reyes Hecoles Gallery (Mexico City), BAFICI (Buenos Aires), China Independent Film Festival, Jeonju International Film Festival, International Film Festival or Rotterdam, New Directors\/New Films (New York), dan Hong Kong International Film Festival. Film terbarunya,\u00a0Emperor Visits the Hell\u00a0memenangkan penghargaan Dragons and Tigers di Vancouver International Film Festival tahun 2012.<\/em><\/p>\n[mk_divider style=”single” divider_color=”#dddddd” divider_width=”full_width” margin_top=”20″ margin_bottom=”20″]\n

Program II: Cara Melihat<\/h2>\n

Program ini merupakan kurasi dari karya-karya dari penyelenggaraan Images Festival ke-26 yang mengusut bagaimana kita melihat dan memahami gambar. Dengan menggunakan pengalaman pribadi, wawancara dokumenter, materi dari arsip dan teknik animasi eksperimental, karya-karya berikut ini hadir dalam wilayah persinggungan antara fakta dan fiksi, mencoba menawarkan cara baru untuk memahami dunia sekitar kita\u00a0 melalui gambar.<\/p>\n

Movement in Squares
\n<\/b><\/em><\/h4>\n

sutradara <\/small>Jean-Paul Kelly<\/strong>
\n<\/strong><\/span>Kanada, video, 13 min, 2013<\/p>\n

“Video dua kanal dikonfigurasi untuk dipresentasikan dalam satu layar, karya Jean-Paul Kelly ini terdiri dari tiga unsur: Video yang berasal dari broker penyitaan yang berbasis di Florida yang mendokumentasikan kondisi rumah yang sudah ditebus kembali, seorang seniman yang sedang menyusun katalog lukisan koleksi pionir British Op Art yaitu Bridget Riley, dan narasi voice-over dari sebuah film dokumenter tentang Riley yang dibuat tahun 1979. Dalam percakapan di layar, elemen-elemen ini mengajukan pertanyaan tentang representasi, etika dan persepsi dalam cara kita melihat gambar. ”<\/p>\n

Jean-Paul Kelly\u00a0(lahir di London, Kanada, 1977) membuat gambar, foto dan video yang sering ditampilkan bersama-sama. Karyanya telah dipamerkan di The Galeri Seni Kontemporer Power Plant (Toronto, 2012), Mercer Union (Toronto, 2010), Ed Video (Guelph, 2010), Cambridge Galeri (2009) dan Galeri TPW (Toronto, 2005 dan 2008). Karyanya pernah diputar di Toronto International Film Festival, International Film Festival Rotterdam, Internationale Kurzfilmtage Oberhausen, Migrating Forms (New York), Arsenal – Institute for Film and Video Art (Berlin), Rencontres Internationales (Paris) dan Pleasure Dome (Toronto).<\/em><\/p>\n

Sight<\/i><\/strong><\/h4>\n

sutradara<\/small> Thirza Jean Cuthand<\/strong>
\n<\/strong><\/span>Kanada, video, 3 min, 2013<\/p>\n

“Pola noda dan cat diambil dengan kamera Super 8 menghasilkan gambar yang menghambat pandangan kita. Gambar yang terputus mencerminkan kata-kata pembuat film saat ia merenungi trauma dan kehilangan penglihatannya. ”<\/p>\n

Thirza Cuthand\u00a0lahir di Saskatchewan dan dibesarkan di Saskatoon. Sejak tahun 1995 dia telah membuat video pendek naratif eksperimental dan film tentang seksualitas, kegilaan, muda-mudi, cinta dan ras, yang telah ditayangkan di berbagai festival internasional. Dia mempunyai darah Plains Cree dan Skotlandia dan saat ini bertempat tinggal di Saskatoon.<\/em><\/p>\n

Underscore (_) Subgui\u00f3n<\/i><\/strong><\/h4>\n

sutradara<\/small> Jorge Lozano<\/strong>
\n<\/strong><\/span>Kanada, video, 28 min, 2012<\/p>\n

“Potret layar-kembar dari Lozano tentang seorang aktivis politik di pengasingan tanpa nama yang menceritakan kisah percobaan pembunuhan yang memaksa dia untuk bersembunyi dan kemudian lari dari rumahnya. Rincian peristiwa traumatik diberitahu dengan presisi faktual, namun nama-nama, tempat dan tanggal telah dihapus untuk melindungi subjek. Kombinasi presisi dan abstraksi membawa kita untuk merefleksikan kenyataan bahwa kisah mengerikan subyek memang terlalu umum, sedangkan fakta bahwa ia selamat tidak. ”<\/p>\n

Jorge Lozano\u00a0telah bekerja sebagai film dan seniman video selama hampir lima puluh tahun dan telah mendapat pengakuan nasional dan internasional. Film-filmnya telah diputar antara lainnya di Toronto International Film Festival dan Sundance, dan karya-karya eksperimentalnya telah dipamerkan di banyak festival internasional dan galeri. Lozano saat ini sedang menyelesaikan pendidikan Ph.D di York University jurusan Seni Visual.<\/em><\/p>\n

A Third Version of the Imaginary<\/i><\/strong><\/h4>\n

sutradara<\/small> Benjamin Tiven<\/strong>
\n<\/strong><\/span>USA, video, 12 min, 2012<\/p>\n

“Kunjungan ke perpustakaan film dan video perusahaan Kenya Broadcasting di Nairobi memberi kesempatan untuk menyelidiki makna dan nilai dari suatu gambar. Tiven mengeksplorasi materi seperti apa yang diawetkan, apa yang dibuang dan bagaimana teknologi, ekonomi dan politik semua memiliki peran dalam menentukan apa yang disiarkan. ”<\/p>\n

Benjamin Tiven\u00a0saat ini tinggal di New York. Pada tahun 2012, ia menyelesaikan Program Studi Independen di Whitney Museum di bidang seni studio. Mengadakan pameran baru-baru ini di New York, Dublin, Vancouver, Toronto, dan Pusat Studi Kuratorial di Bard College. Kontribusi tulisan terbarunya dimuat di\u00a0Triple Canopy,\u00a0Bidoun,\u00a0The Bulletins of the Serving Library,\u00a0The Nation,\u00a0The Abu Dhabi National, dan\u00a0The Philadelphia Independent.<\/em><\/p>\n

Shadow Puppet<\/i><\/strong><\/h4>\n

sutradara<\/small> Yi Cui<\/strong><\/p>\n

Kanada, 2010, 16mm, 5 min<\/p>\n

“Melalui penggunaan printer optik sebagai perangkat kreatif, frame individu ditampilkan seperti catatan musik. Sebuah improvisasi berirama divisualisasikan pada seluloid. ”<\/p>\n

Yi Cui\u00a0lahir dan dibesarkan di Cina. Sebelum membuat film, dia mengenyam pendidikan di bidang ekologi konservasi. Apa yang dipelajari dari alam telah tinggal di identitas karya-karyanya dan memengaruhi karya kreatifnya. Pencarian aliran yang puitis dan mempunyai irama terlihat jelas dalam karya-karya filmnya. Yi Cui memperoleh gelar MFA-nya dalam produksi film di York University di Toronto.<\/em><\/p>\n

You Are Here<\/i><\/strong><\/p>\n

sutradara<\/small> Leslie Supnet
\n<\/strong>Kanada, video, 3 min, 2012<\/p>\n

\u201cMembangkitkan kembali orang mati untuk menulis melalui ritual yang ditampilkan dengan tangan imajiner.”<\/p>\n

Leslie Supnet\u00a0adalah seorang seniman yang tinggal di Toronto. Karya-karya visualnya bertujuan untuk mengungkapkan ketulusan, pengalaman hidup, dan keragaman emosi manusia. Karyanya telah diputar di berbagai festival, bioskop dan bioskop kecil di banyak tempat.<\/em><\/p>\n[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text disable_pattern=”true” align=”left” margin_bottom=”0″]\n

Program I:\u00a0River and My Father<\/i><\/span><\/h3>\n

director<\/small> Luo Li
\n<\/strong>Canada\/China, video, 75 min, 2010<\/span><\/p>\n

A subtle combination of documentary and fiction filmmaking, Luo Li’s remarkable Rivers and My Father was inspired by stories from his father’s childhood. Li inventively structures sound, image and narration, evoking the ways in which memory operates. The filmmaker and his family grew up along the Yangtze River (Chang Jiang) in China, which serves as the backdrop on which the film’s stories unfold. Seen from a distance in both time and space, and in relation to contemporary forms of migration, these stories flow like rivers on a map of the past. The film begins in the nondescript offices and hallways of York University with an employee who is about to retire. The man comments on the passing of time and how 2010 once seemed like the distant future. This conversation sets the tone of the film, where the ordinary details of daily life take on a universal quality. These unique personal experiences convey collectively understood feelings of, as Li puts it, “inbetweenness, uncertainty and the indeterminacy.”<\/span><\/p>\n

Images from the map library at the University segue to a rainy street in China. The stories of Li’s family begin here and are illustrated by a suite of elegantly composed, elliptical, repeating shots: a boy and a woman walking up steps; a man swimming in a wide body of water; a trio of boys walking along a riverbank. The audience’s perception of timelessness, rupture and “inbetweenness” is enhanced by the fact that stories from the past are illustrated with contemporary images.<\/span><\/p>\n

The shots don’t always immediately or directly refer to the narration, sometimes preceding and sometimes following it, a technique that creates an engaging delay in the revelation of the film’s internal logic. Li explains that he was motivated to make the film to not only document the personal stories of his family, but also to represent aspects of what an ordinary Chinese person’s life was like in the past, how their lives were affected by the environment they grew up in, and how their memories intersect with the present. Li writes: “Together, these cross-generational personal stories become an allegory in regard to the modern history of China.\u2026 History is often dominated by grand narratives that centre on significant events and powerful figures. However, I believe that ordinary people’s personal memories are equally important. These memories can provide us with different angles and perspectives to look at the present and plan for the future\u2026 With Rivers and My Father I hope to contribute to the documentation and preservation of local history through the representation of ordinary people’s stories and memories.”<\/span><\/p>\n

Luo Li\u00a0is an independent filmmaker. He was born and grew up in China. He studied film production and completed his MFA in Canada. Li\u2019s works have screened internationally in festivals and galleries including Arsenal (Berlin), Cinematheque Ontario (Toronto), Images Festival (Toronto), Nouveau Cinema International Film and New Media Festival (Montreal), Reyes Hecoles Gallery (Mexico City), BAFICI (Buenos Aires), China Independent Film Festival, Jeonju International Film Festival, International Film Festival or Rotterdam, New Directors\/New Films (New York), and Hong Kong International Film Festival. His most recent film,\u00a0Emperor Visits the Hell<\/i>\u00a0won the Dragons and Tigers award at the 2012 Vancouver International Film Festival.<\/span><\/p>\n[mk_divider style=”single” divider_color=”#dddddd” divider_width=”full_width” margin_top=”20″ margin_bottom=”20″]\n

Program II:\u00a0Ways of Seeing<\/i><\/span><\/h2>\n

This selection of recent works from the 26th\u00a0edition of the Images Festival investigates the way in which we see and understand images. Using personal reflection, documentary interview, archival materials and experimental animation techniques, these works operate on the boundaries of fact and fiction, proposing different positions from which we can understand the world around us through an image.<\/span><\/p>\n

Movement in Squares<\/i><\/strong><\/span><\/h4>\n

director<\/small>\u00a0Jean-Paul Kelly
\n<\/strong>Canada, video, 13 min, 2013<\/span><\/p>\n

\u201cA two-channel video work configured here for a single screen presentation, Jean-Paul Kelly’s Movement in Squares is composed of three elements: video appropriated from a Florida-based foreclosure broker who documents the condition of repossessed homes; the artist paging through a catalogue of paintings by the British Op Art pioneer Bridget Riley; and voice-over narration from a 1979 documentary about Riley. In conversation on the screen, these elements put forth questions about representation, ethics and perception in how we look at images.\u201c<\/span><\/p>\n

Jean-Paul Kelly\u00a0(born in London, Canada, 1977) creates drawings, photographs and videos that are often displayed together. His work has been shown at The Power Plant Contemporary Art Gallery (Toronto, 2012), Mercer Union (Toronto, 2010), Ed Video (Guelph, 2010), Cambridge Galleries (2009) and Gallery TPW (Toronto, 2005 and 2008). Screenings include the Toronto International Film Festival, International Film Festival Rotterdam, Internationale Kurzfilmtage Oberhausen, Migrating Forms (New York), Arsenal – Institute for Film and Video Art (Berlin), Rencontres Internationales (Paris) and Pleasure Dome (Toronto).<\/span><\/p>\n

Sight<\/i><\/strong><\/span><\/h4>\n

director<\/small> Thirza Jean Cuthand
\n<\/strong>Canada, video, 3 min, 2013<\/span><\/p>\n

\u201cStained and painted patterns on Super 8 images impede our view. The interrupted images reflect the words of the filmmaker as she muses on trauma and the loss of sight.\u201d<\/span><\/p>\n

Thirza Cuthand\u00a0was born in Saskatchewan and grew up in Saskatoon. Since 1995 she has been making short experimental narrative videos and films about sexuality, madness, youth, love and race, which have screened in festivals internationally. She is of Plains Cree and Scots descent and currently resides in Saskatoon.<\/span><\/p>\n

Underscore (_) Subgui\u00f3n<\/i><\/strong><\/span><\/h4>\n

director<\/small> Jorge Lozano
\n<\/strong>Canada, video, 28 min, 2012<\/span><\/p>\n

\u201cLozano’s twin-screen portrait of a political activist in exile in 1 has the unnamed individual tell the story of the assassination attempt that forced him to go into hiding and then to flee his home. The details of the traumatic event are told with matter-of-fact precision, but names, places and dates have been removed to protect the subject. The combination of precision and abstraction lead us to reflect on the fact that the subject’s chilling story is indeed all too common, while the fact that he survived is not.\u201d<\/span><\/p>\n

Jorge Lozano\u00a0has been working as a film and video artist for nearly fifty years and has achieved national and international recognition. His films have been exhibited at the Toronto International and Sundance Film Festivals, amongst others, and his experimental work has been exhibited at many international festivals and galleries. Lozano is currently working on a Ph.D at York University in Visual Arts.<\/span><\/p>\n

A Third Version of the Imaginary<\/i><\/strong><\/span><\/p>\n

director<\/small> Benjamin Tiven
\n<\/strong>USA, video, 12 min, 2012<\/span><\/p>\n

\u201cA visit to the film and video library of the Kenya Broadcasting corporation in Nairobi provides an opportunity to investigate the meaning and value of an image. Tiven\u2019s film explores what is preserved, what is discarded and how technology, economics and politics all have a role in determining what is broadcast.\u201d<\/span><\/p>\n

Benjamin Tiven\u00a0currently lives in New York. In 2012, he completed the Whitney Museum\u2019s Independent Study Program in studio art. Recent exhibitions in New York, Dublin, Vancouver, Toronto, and the Center for Curatorial Studies at Bard College. Recent contributions to\u00a0Triple Canopy<\/i>,\u00a0Bidoun<\/i>,\u00a0The Bulletins of the Serving Library<\/i>,\u00a0The Nation<\/i>,\u00a0The Abu Dhabi National<\/i>, and\u00a0The Philadelphia Independent<\/i>.<\/span><\/p>\n

Shadow Puppet<\/i><\/strong><\/span><\/h4>\n

director<\/small> Yi Cui
\n<\/strong>Canada, 16mm, 5 min, 2010<\/span><\/p>\n

\u201cThrough the use of an optical printer as a creative device, the individual frame is played like a music note. A rhythmic improvisation visualized on celluloid.\u201d<\/span><\/p>\n

Yi Cui\u00a0was born and raised in China. Before stepping into filmmaking, she pursued conservation ecology. What was learned from nature has stayed in her identity and reverberated into her creative work. A search for poetics and rhythmic flow inside the film medium has driven all her works. Yi Cui acquired her MFA in film production at York University in Toronto.<\/span><\/p>\n

You Are Here<\/i><\/strong><\/span><\/p>\n

director<\/small> Leslie Supnet
\n<\/strong>Canada, video, 3 min, 2012<\/span><\/p>\n

\u201cInvoking the dead to write through a ritual performed by animated hands.\u201d<\/span><\/p>\n

Leslie Supnet\u00a0is an artist living in Toronto whose moving image and drawing aims to express sincerity, lived experience, and the multiplicity of human emotion. Her works have screened at various festivals, cinemas and microcinemas near and far.<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]\n

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