{"id":9455,"date":"2019-07-23T10:00:56","date_gmt":"2019-07-23T03:00:56","guid":{"rendered":"http:\/\/arkipel.org\/?p=9455"},"modified":"2019-08-12T21:18:28","modified_gmt":"2019-08-12T14:18:28","slug":"arkipel-bromocorah-candrawala-local-landscape-of-now-2019","status":"publish","type":"post","link":"https:\/\/arkipel.org\/arkipel-bromocorah-candrawala-local-landscape-of-now-2019\/","title":{"rendered":"ARKIPEL bromocorah – Candrawala: Local landscape of now 2019"},"content":{"rendered":"[vc_row][vc_column][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1563806599574{margin-bottom: 0px !important;}”]Tak sukar memalingkan wajah dari situasi sosial-politik kita, semudah menggulirkan layar ketika menemui konten-konten yang tak sesuai selera, begitu saja. Meski seberapa pun kita mengabaikannya, konten-konten yang sengaja kita lewatkan tetap saja bersirkulasi di sekitar kita. Item-item digital ini bergerak, mulai dari ruang yang paling publik sampai yang paling privat dalam berbagai bilik komunikasi yang termediasi internet. Namun, ke mana perginya mereka setelah kita abaikan? Adakah mereka menyisakan jejak-jejak di memori kita dan secara tak sengaja muncul begitu saja dalam proses komunikasi yang tak termediasi internet? Tradisi lisan, \u201cdari mulut ke mulut\u201d, yang ada dalam keseharian kita, seakan mendapat \u201csaluran\u201d terbaiknya atas kehadiran internet: hasrat berbagi (sharing<\/em>).<\/p>\n

Keinginan kita untuk memalingkan wajah dari konten-konten dengan muatan tertentu, pada tingkat tertentu, menjadi sukar dilakukan. Konten-konten yang tampaknya tersebar acak dan berserakan tersebut lama-kelamaan memperlihatkan kesamaan ciri dalam muatan, bentuk, bahkan sikap (mungkin politis) yang dikandungnya. Sirkulasi yang cepat tak membuat konten-konten ini lekas terlupakan atau punah sama sekali; justru ia beradaptasi melalui beragam cara dan terus-menerus direproduksi. Sampai pada akhirnya konten-konten ini mempunyai kemampuan kehadiran yang multidimensional\u2014di tataran yang lebih luas ia mampu membentuk pola pikir, perilaku, dan aksi suatu kelompok sosial. Konten-konten ini keluar dari ruang hampa nilai dan memperlihatkan keberpihakannya. Semakin lama ia bertahan dalam sirkulasi, kita dapat menduga, jika bukan karena kemampuan adaptasinya yang semakin canggih, boleh jadi keberadaannya itulah yang begitu relevan dengan konteks sosiokultural kita saat ini. Dengan tidak melihatnya sebagai unit kultural tunggal, sejumlah teks, gambar, video, bahkan audio yang kerap berserakan dan kita abaikan itu agaknya dapat merefleksikan wacana publik yang penting. Jelas mereka merepresentasikan \u201csuara\u201d dan \u201cperspektif yang beragam\u201d akan banyak hal, dan bukannya hadir tanpa tujuan.<\/p>\n

Delapan film yang dipilih ke dalam kurasi Candrawala tahun ini, setidaknya\u2014dari konteks latar belakang, metode produksi, dan pilihan bahasa visualnya\u2014mengindikasikan fenomena bagaimana unit-unit selain \u201ckonten media\u201d juga mengalami gejala serupa, di mana sirkulasinya yang terarah ketimbang organik itu (sebagaimana yang tampak atau kita duga selama ini) merupakan apa yang sebenarnya kita hadapi sehari-hari. Replikasi ide, ketakutan, ujaran, slogan, narasi, memori, pengalaman, peristiwa\u2014yang beradaptasi dan diadaptasi secara evolusioner di sepanjang kehidupan manusia\u2014pada akhirnya menentukan sudut pandang subjek-subjek, termasuk subjek-subjek kreatif, dalam membingkai beragam persoalan yang sengaja dipertentangkan ataupun diselaraskan dengan apa yang dominan ataupun subordinat.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1563810705682{margin-bottom: 0px !important;}”]It’s not difficult to look away from our socio-political situation; it’s as easy as rolling the screen when we face contents unsuitable with our taste as such. Though we ignore them, they still circulate around us. These digital items move from the most public spaces to the most private in various internet-mediated communication pools. However, where are they going? Do they leave traces in our memory and presumably emerge in the world wherein communication occurs without the internet? Human oral customs seemly get its best modes thanks to the internet to unleash our main desire: to share.<\/span><\/p>\n

Consequently, to some extent, it’s hard to turn away from some contents which have certain substances. Looks arbitrarily spreading, these are actually the contents that show similarity to each other over time, from substance, form and to their attitude. The rapid circulation won’t make them extinct; they can adapt in many ways and are even reproduced constantly until they reach an ability of presenting themselves multi-dimensionally –in a higher level they are able to determine the mindset, behaviour and action of social groups. They come out of a vacuum of value and shows partiality. We can argue that the longer those contents stay in the circulation, so to speak, the more relevant they would be to our sociocultural current context, and it’s not only because of its increasingly sophisticated adaptability. By not seeing them as a single unit of culture, such scattered contents as texts, images, audios and moving images reflect an important public discourse. It is obvious that they represent “voices” and “diverse perspectives” of many things rather than being present without purpose.<\/span><\/p>\n

Eight films selected into the Candrawala curatorial this year, at least \u2014based on their background of context, method of production, and visual language choices\u2014 indicate the phenomenon of how units other than “media content” also experience similar symptoms. Such units have a directed circulation, rather than organic one as seemed or thought of all this time; that’s what we actually face every day. The replication of ideas, fears, speeches, catch-phrases, narratives, memories, experiences and events \u2014those who evolutionarily adapt and are adapted throughout human life\u2014 ultimately determine the point of view of subjects, including creative subjects, in framing a variety of issues that are deliberately contradicted to or aligned with what is dominant or subordinate.<\/span><\/p>\n

\n

Curator:\u00a0Dhuha Ramadhani<\/strong>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row][vc_column][mk_padding_divider][mk_ornamental_title font_family=”none”]\n

Candrawala \u2013 Local landscape of now 2019<\/strong><\/h2>\n[\/mk_ornamental_title][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text css=”.vc_custom_1564718279013{margin-bottom: 0px !important;}”]\"\"<\/p>\n

Adegan Yang Hilang dari Petrus<\/strong><\/em> (2019), Arif Budiman, 5 minutes
\nYogyakarta: Piring Tirbing.<\/p>\n

_<\/p>\n

\"\"<\/p>\n

The Nameless Boy<\/em><\/strong> (2017), Diego Batara Mahameru, 5 minutes
\nJakarta: Dasawarna Pictures.<\/p>\n

\u2013<\/p>\n

\"\"<\/p>\n

Topo Pendem \/ Merged with The Ground<\/strong><\/em> (2018), Imam Syafi\u2019i, 19 minutes
\nKlaten: Jawa Tengah, Komunitas Film Klaten<\/p>\n

\u2013<\/p>\n

\"\"<\/p>\n

Gowok The Ins and Outs of A Woman\u2019s Body<\/strong><\/em> (2018), Steve Masihoroe, 17 minutes
\nYogyakarta: Ruang Gelap X Nyantrik Films<\/p>\n

\u2013<\/p>\n

\"\"<\/p>\n

Blues Sides on the Blue Sky<\/strong> <\/em>(2018), Rachmat Hidayat Mustamin, 16 minutes
\nMakassar: Imitation Film Project<\/p>\n

\u2013<\/p>\n

\"\"<\/p>\n

Fade Out<\/strong><\/em> (2019), Achmad Rezi Fahlevie, 8 minutes
\nYogyakarta: Noise Films<\/p>\n

\u2013<\/p>\n

\"\"<\/p>\n

Woo Woo \/ Or the Silence That Kills You and Me<\/strong><\/em> (2019), Ismail Basbeth, 14 minutes
\nYogyakarta: Bosan Berisik Lab & Matta Cinema<\/p>\n

\u2013<\/p>\n

\"\"<\/p>\n

Sapu Angin \/ Windswept<\/strong><\/em> (2017), Cahyo Prayogo, 5 minutes
\nSurabaya<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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