{"id":9738,"date":"2019-08-13T00:30:26","date_gmt":"2019-08-12T17:30:26","guid":{"rendered":"https:\/\/arkipel.org\/?p=9738"},"modified":"2019-08-13T02:15:05","modified_gmt":"2019-08-12T19:15:05","slug":"index-and-context-of-formal-experimentation","status":"publish","type":"post","link":"https:\/\/arkipel.org\/index-and-context-of-formal-experimentation\/","title":{"rendered":"Index and Context of Formal Experimentation"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1565629515701{margin-bottom: 0px !important;}”]\n

Index and Context of Formal Experimentation
\n<\/em><\/strong>Indeks dan Konteks Eksperimen Bentuk<\/em><\/h1>\n

Host: Manshur Zikri<\/strong><\/p>\n

Friday, August 23, 2019 | 16:30 | GoetheHaus<\/p>\n[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565629564763{margin-bottom: 0px !important;}”]Eksperimentasi formal sebagai pengembangan estetika filem adalah upaya \u201cmeledakkan\u201d potensi gambar, pada satu sisi, dan alat rekam (kamera) di sisi yang lain.<\/p>\n

Daur penjelajahan teknisnya, jika dipaparkan secara ringkas dengan mengacu teoretisasi Deleuze, ialah pada bidikan konstruktif \u2014 dan kemudian penyusunan gambar \u2014 yang berusaha mencapai batas daya penglihatan penonton. Tangkapan-tangkapan yang lumrah dan manusiawi menyajikan kepadatan gambar yang memiliki koneksi dengan kenyataan inderawi di luar bingkai sinema. Batasan itu lantas didobrak melalui investigasi ritmis terhadap elemen-elemen gambar yang bergerak serempak, untuk menciptakan kelenturan perseptual, yaitu sudut pandang yang cair tanpa bertumpu pada perspektif insaniah. Di situ, ketelatenan terhadap medium dan perangkat perekaman adalah basis eksperimen: bagaimana kamera disikapi dan diperlakukan, atau bahkan diinterpretasi pada fase ketika operasional dari proses produksinya telah berlalu.<\/p>\n

Penjelajahan sinema dalam rangka produksi bahasa seharusnya tidak berhenti pada kepekaan grid<\/em> ataupun keselarasan komposisi visual, sebab representasi sinematik ialah zona dengan lapisan orbit tanpa sudut yang mengandaikan volume. Maka, melalui kesadaran terhadap interval sekaligus hubungan temporal antargambar, eksperimen bentuk perlu didorong untuk bisa mencapai interpretasi murni dari kerja mata mesin dalam menciptakan konten yang dinamis. Tempo dalam penyusunan gambar, baik dalam hal durasi, jarak terhadap subjek\/objek ambilan, maupun perpindahan visi, akan bisa memicu apa yang disebut Deleuze \u201cafeksi\u201d dan \u201cekspektasi\u201d di kepala penonton sehingga narasi formal dari sinema menjadi bahasa yang aktif.<\/p>\n

Namun, penjelajahan formal pada filem tidak jarang menjerumuskan, baik pembuat maupun penonton, ke dalam perhatian semata visual sehingga konteks-konteks yang mendasari eksperimentasi menjadi terabaikan. Formalitas filemis bisa saja membuat kita steril dari realitas dunia sosial yang berada di luar batas transparan layar sinema. Menyadari hal itu, imajinasi bentuk seharusnya niscaya berangkat dari respon subjektif pembuat terhadap aspek-aspek sosial dari medium filem daripada sekadar terdorong oleh hasrat untuk menguliti aspek fungsional teknologi.<\/p>\n

Enam filem di dalam kurasi ini menunjukkan eksperimen sinematik yang menekankan intensitas bentuk. Mereka bisa dilihat sebagai indeks untuk mengacu sejumlah temuan-temuan eksperimen formal lintas zaman, tetapi juga dengan cermat menyertakan konteks yang bersangkut-paut dengan masalah-masalah mengenai situasi aktual sekaligus sejarah dari bahasa dan model penggunaan teknologi-teknologi pencipta visual. Kemasan puitik pada konten mereka menyiratkan celah reflektif atas pengalaman-pengalaman massa dan individu, dulu dan kini, terutama karena pilihan material dan cara produksi masing-masing sutradaranya yang berusaha keluar dari preferensi arus utama.[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565629588514{margin-bottom: 0px !important;}”]Formal experimentation as the development of film aesthetics is an attempt to magnify the images’ potential, on the one hand, and recording devices (cameras) on the other.<\/p>\n

Its pattern of technical exploration, if we briefly refer to Deleuze’s theorization, is initially on constructive shots \u2014 and then organization of images \u2014 that try to reach towards the zenith of the audience’s vision. Ordinary and humane shots present solidity of images that closely connect with the sensory reality outside the film frame. Such limitations are then broken through rhythmic investigation of the elements of the images which move simultaneously, to create perceptual flexibility that constitutes a liquid perspective without relying on a human perspective. There, tenacity in dealing with recording medium and devices is the foundation of the experiment. It’s about how to respond and address the camera, or how to interpret it even when its production process has ended.<\/p>\n

Cinematic exploration in terms of language production should not stop at the accuracy in grid or harmony in visual composition, because cinematic representation is a zone where its orbital layer without corner, presupposing volume. Thus, through the awareness of intervals as well as of temporal relationships between the images, formal experiments need to be encouraged to be able to achieve a pure interpretation of the works of machinery eye in creating dynamic content. Tempo in the arrangement of images \u2013 both in terms of duration, distance to the captured subject\/object, and the shift of vision \u2013 will be able to evoke what Deleuze called “affection” and “assumption” in the audience’s head, so that the formal narrative of cinema becomes an active language.<\/p>\n

However, formal exploration of the film often trick both creators and viewers into focusing extensively on the visuals, while the context underlying the experimentation itself is often ignored. Filmic formalities disconnect us from the reality of the social world that exists outside the edges of cinema screens. Therefore, the imagination of form should come from the filmmaker’s subjective response to the social aspects of film medium, rather than merely being driven by their desire to examine the functional aspects of technology.<\/p>\n

The six films compiled in this curation indicate a cinematic experiment on the intensity within forms. We can posit them as an index to refer to several formal experiments across the ages, but they also meticulously include the context of current issues as well as the language histories and usage model of technologies that create visual. Poetic presentment in their content implies a reflective aperture on the collective and individual experiences, past and present, particularly due to the material choices and the mode of production of each director who tries to get out of mainstream preferences.[\/vc_column_text][\/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 style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1532969190362-a01badc7-fcf5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9537″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565629671146{margin-bottom: 0px !important;}”]\n

Memoria del Espacia<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Rodrigo Noya<\/strong> (Argentine)
\nInternational Title<\/em>\u00a0\u00a0Space Memory
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Argentine
\n<\/strong>Language<\/em>\u00a0\u00a0–
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

9 min 57 sec, stereo, HDV, 16:9, color, 2018[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565629691462{margin-bottom: 0px !important;}”]Konstruksi formal atas cahaya yang menembus jendela gedung Ex-ESMA (gedung bekas Escuela de Mec\u00e1nica de la Armada<\/em> yang beralih fungsi menjadi museum peringatan) sebagai salah satu langkah dari semacam pengamatan yang teliti dan giat terhadap bagian dalam lokasi, demi menyelidiki arah dan persepsi waktu. Bentuk cahaya yang dimainkan pun menjadi puisi visual, sedangkan konteks situs seakan menarik kita kembali untuk mengingat sejarah kekerasan masa lalu yang pada masanya junta militer memainkan politik kontrol lewat penghilangan dan pembantaian untuk meredam gerakan oposisi \u2014 para gerilyawan. Jendela yang berpuisi itu seakan menjadi metafor bagi ambang ingatan kita, yang menghubungkan ruang dan waktu itu sendiri.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565629705424{margin-bottom: 0px !important;}”]It is a formal construction of light coming through the window of the Ex-ESMA building (the former building of the Escuela de Mec\u00e1nica de la Armada which turned into a memorial museum), as one step from a careful and active observation of the inner side of the site, to investigate the course and perception of time. The played form of light constitutes visual poetry, while the context of the site seems to draw us back to recall the history of past violence when the military junta played politics of control by enforced disappearances and massacres to quell the opposition movement \u2014 the guerrillas. Such poetic windows come to be a metaphor for the threshold of our memory, and it is itself connecting the space and time.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1532969190418-0b77954e-9992″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9739″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565629742982{margin-bottom: 0px !important;}”]Rodrigo Noya<\/strong><\/em> adalah seorang seniman, musisi, dan guru di bidang audiovisual. Dia juga seorang desainer audiovisual di Universitas Buenos Aires. Dia telah mempresentasikan karyanya secara internasional, seperti di VideoBardo, Bienal de Imagen en Movimiento<\/em>, Oberhausen Kurzfilmtage<\/em>, BAFICI, Mata Negra, FIVA, PLAY, IVAHM, Escalatr\u00f3nica, dan lainnya.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565629757711{margin-bottom: 0px !important;}”]Rodrigo Noya<\/strong><\/em> is an audiovisual artist, musician and teacher. He is also an audiovisual designer at the University of Buenos Aires. He has presented his works internationally, such as at VideoBardo, Bienal de Imagen en Movimiento, Oberhausen Kurzfilmtage, BAFICI, Mata Negra, FIVA, PLAY, IVAHM, Escalatr\u00f3nica, among others.<\/span>[\/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 style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1565627063299-bf510960-5bb5″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9394″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565629832413{margin-bottom: 0px !important;}”]\n

Steine<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>J\u00f6rn Staeger<\/strong> (Germany)
\nInternational Title<\/em>\u00a0\u00a0Stones
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Germany
\n<\/strong>Language<\/em>\u00a0\u00a0–
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

7,5 min, 4K, cinemascope 5.1, color, 2018[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565629852073{margin-bottom: 0px !important;}”]Dokumentasi eksperimental yang dikonstruksi untuk memposisikan batu, materi alam mayor dan telah menjadi bahan utama dalam sejarah perkembangan arsitektural di sepanjang peradaban manusia, sebagai figur utama. Dengan susunan bahasa filem berdasarkan formalitas visual objek tersebut, filem ini merangkai hubungan sebab-akibat yang muncul dari interaksi manusia dan alam, membawa kita ke ranah refleksi mengenai pembangunan, tata ruang kehidupan sosial, sekaligus juga dampak perubahan iklim yang berkaitan dengan tindakan manusia terhadap lanskap-lanskap alamiah yang ada. Dari segi estetis, filem ini merupakan ungkaian tentang pertemuan antara formalitas kamera dan organisme alamiah, menyertakan narasi pertemuan antara lanskap bebatuan tanpa bentuk dan yang dibentuk manusia.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565629869564{margin-bottom: 0px !important;}”]It is an experimental documentation constructed to position the stones, major natural material and has become the main ingredient in the history of architectural development throughout human civilization, as its main figure. By the composition of film language based on the visual formality of the object, it assembles a causal relationship arisen from human and natural interactions, bringing us into the realm of reflection on the development, spatial layout of social life, as well as the effects of climate change which related to human action on the existing natural landscapes. In terms of aesthetics, this film is a talk about a rendezvous between the camera formality and natural organisms, including the narrative of the encounter between the landscape of “construct-less” natural stones and human-constructed rocks.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565627063746-e331ca79-ea40″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9742″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565629908364{margin-bottom: 0px !important;}”]J\u00f6rn Staeger<\/strong><\/em> lahir pada tahun 1965 di Berlin. Sejak tahun 1979, ia membuat filem pendek dan bekerja di bidang perfileman dan televisi (kebanyakan di belakang kamera). Tahun 1990, ia mendirikan perusahaan produksinya \u2013 Staeger Film. Fielm pendeknya “Spooky<\/em> Transit<\/em>” tayang di NFL 2015.<\/p>\n

http:\/\/www.staeger-film.de<\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565629927305{margin-bottom: 0px !important;}”]J\u00f6rn Staeger<\/strong><\/em> was born in 1965 in Berlin. Since 1979, he has made short films and worked for film and TV (mostly behind the camera). In 1990, he founded his production company \u2013 Staeger Film. His short film \u201cSpooky Transit\u201d was screened at the 2015 NFL.<\/span><\/p>\n

http:\/\/www.staeger-film.de<\/a><\/span>[\/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 style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1565629934672-0eefb5af-b918″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9538″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565630009465{margin-bottom: 0px !important;}”]\n

Liquid Traits of an Image Apparatus<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Vera Sebert<\/strong> (Austria)
\nInternational Title<\/em>\u00a0\u00a0Liquid Traits of an Image Apparatus
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Austria
\n<\/strong>Language<\/em>\u00a0\u00a0German
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

7 min 22 sec, sound, B\/W, 2019[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565630030308{margin-bottom: 0px !important;}”]Filem ini membangun montase yang membebaskan kode-kode abstrak mesin digital dari makna bawaannya, yaitu gambar\/bentuk yang merangsang kepuasan inderawi dan fisik manusia dari segi keterbacaan akibat konsepsi semantik dan fungsi instruksional yang mereka ciptakan dan miliki. Pembebasan makna bawaan itu, tentu saja, terjadi karena bingkaian filem membuat kode-kode tersebut menyerap karakteristik spasial dari citra sinematik yang lebih menekankan aksi lihatan (seeing<\/em>) ketimbang membaca (reading<\/em>), sehingga mereka terkonsentrasi sebagai semata gambar solid daripada unit-unit visual antarmuka. Sementara, yang tersisa ialah basis-basis pengalaman dan pemahaman kolektif kita yang dibentuk oleh mekanisme kerja media, menjadi benang merah yang membangun narasi filemis mengenai kelenturan sifat mereka.<\/p>\n

http:\/\/verasebert.com<\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565630047280{margin-bottom: 0px !important;}”]This film builds a montage that frees the digital machinery abstract codes from their innate meanings, that is such images or forms stimulating sensory and physical satisfaction in terms of the readability due to the semantic conception they create and the instructional functions they have. The liberation of such innate meaning, of course, occurs because the film’s fame makes the codes absorb the spatial characteristics of cinematic imagery which emphasize the action of seeing rather than reading so that they are concentrated as mere solid images rather than visual units of the interface. Meanwhile, what remains are the bases of our collective experience and perception constructed by the media mechanism, which becomes connecting lines for filmic interpretation about the liquidity of their traits.<\/span><\/p>\n

http:\/\/verasebert.com<\/a><\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565629935237-6f4e3ebf-14da”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9743″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565630100121{margin-bottom: 0px !important;}”]Vera Sebert<\/strong><\/em> lahir pada tahun 1987 di Freiburg im Breisgau, Jerman. Ia tinggal dan bekerja di Braunschweig, Jerman. Ia belajar Seni Visual di HBK Braunschweig dan Academy of Fine Arts Vienna. Karya-karyanya berkisar di antara masalah area perbatasan antara media visual, bahasa, filem, dan program komputer.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565630116644{margin-bottom: 0px !important;}”]Vera Sebert<\/strong><\/em> was born in 1987 in Freiburg im Breisgau, Germany, lives and works in Braunschweig, Germany. She studied Visual Art at HBK Braunschweig and Academy of Fine Arts Vienna. Her artworks ranged among the issue of border areas between visual media, language, film and computer programs.<\/span>[\/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 style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1565630124341-63247620-8226″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9381″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565630198933{margin-bottom: 0px !important;}”]\n

Centar<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Ivan Markovi\u0107<\/strong> (Serbia)
\nInternational Title<\/em>\u00a0\u00a0Centar
\n<\/strong>Country of Production<\/em>\u00a0\u00a0Serbia
\n<\/strong>Language<\/em>\u00a0\u00a0–
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

48 min, HD, color, 2018[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565630223614{margin-bottom: 0px !important;}”]Dengan menunjukkan kepekaan tinggi pada komposisi matematis, Centar<\/em> mengonstruksi sifat-sifat formal ruang dan lanskap bangunan bersejarah yang tengah menyambut masa lapuk keberadaannya sebelum memasuki fase baru sebagai bangunan privat. Para petugas kebersihan Sava Centar\u2014gedung kongres yang berdiri sejak tahun 1978 dan telah menjadi representasi dari cita-cita tentang bangsa yang mandiri dari dua kubu\u2014bekerja merawat gedung itu dalam irama gerak yang mengesankan adanya kesinambungan mekanistik antara rigiditas bangunan tua dan upaya pelestarian kenangan historis. Suara suasana yang melatari narasi formal pada filem ini seakan menjadi kiasan tentang keheningan menuju mumifikasi gagasan-gagasan idealisme lampau, menyisakan semata sublimasi nostalgis dari tujuan yang dahulu dibayangkan.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565630240054{margin-bottom: 0px !important;}”]With its high sensitivity to mathematical composition, Centar<\/em> constructs the formal characteristics of space and landscape of historical buildings that are facing its obsolescent period of existence before entering a new phase as a private building. The janitors at the Sava Centar \u2013 a congress building that was founded in 1978 and has become a representation of ideals of the future about an independent nation from the two powers \u2013work to care for the building in a seemingly rhythmic motion, impressing a mechanistic interconnection between the old building’s rigidity and the preservation of historical memories. The sounds of ambience background the formal narrative of the film seems to be an allegory of silence towards the mummification of the notions of past idealism, remaining just a nostalgic sublimation of ideals that used to be imagined.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565630124945-cce3bab1-fc98″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9744″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565630441636{margin-bottom: 0px !important;}”]Ivan Markovi\u0107<\/strong><\/em> (lahir 1989 di Beograd, Yugoslavia) menyelesaikan studinya di bidang Sinematografi. Saat ini ia sedang menyelesaikan gelar masternya di bidang Seni dan Media di Universit\u00e4t der K\u00fcnste Berlin. Pada tahun 2015, ia berpartisipasi di Berlinale Talent Campus. <\/em>Filem-filemnya, antara lain Everything Is Safe<\/em> (2009), Night Walks<\/em> (2014), dan If and of any<\/em> (2017).[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565630455955{margin-bottom: 0px !important;}”]Ivan Markovi\u0107<\/strong><\/em> (b. 1989 in Belgrade, Yugoslavia) completed his studies in Cinematography. He is currently completing his master\u2019s degree in Art and Media at the Universit\u00e4t der K\u00fcnste Berlin. In 2015, he participated in the Berlinale Talent Campus. His films include Everything Is Safe<\/em> (2009), Night Walks<\/em> (2014) and If and of any<\/em> (2017).<\/span>[\/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 style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1565630254879-3897c204-28ea”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9392″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565630333124{margin-bottom: 0px !important;}”]\n

Saturation<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Perrine Li\u00e9vois<\/strong> (France)
\nInternational Title<\/em>\u00a0\u00a0Saturation
\n<\/strong>Country of Production<\/em>\u00a0\u00a0France
\n<\/strong>Language<\/em>\u00a0\u00a0French
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

29 min, sound, HD, B\/W, 2019[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565630349258{margin-bottom: 0px !important;}”]Memfokuskan penelaahannya pada karakteristik kamera, Saturation <\/em>bukan semata berbicara tentang pemanfaatan intensitas warna sebagai elemen bahasa visual. Menyaru dengan latar naratif filem, yaitu karakter Emma yang dihantui oleh pikirannya sendiri sehingga mengamati sekitar dengan pandangan kosong, montase Saturation<\/em> yang bermain-main dengan tempo bidikan jauh, sedang, hingga extreme<\/em> close-up<\/em> mengindikasikan upaya realisasi gagasan \u201cmovement-image\u201d<\/em>-nya Deleuze mengenai kelenturan dan sifat berubah-ubah dari persepsi sinematik, yang secara filosofis mengedepankan potensi kamera untuk melampaui daya penglihatan umum demi memburu visi yang murni dari kerja mata mekanis. Dalam konteks itu, Saturation<\/em> berusaha merangkum sebagian sejarah estetika gambar bergerak yang keluar dari gaya ungkap filem yang sederhana.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565630364487{margin-bottom: 0px !important;}”]Focus on the examination of the camera’s characteristics, Saturation<\/em> is not just talking about using color intensity as an element of visual language. Vaguing by the film narrative’s background, in which Emma’s character was haunted by her thoughts so that she observes her surroundings with an absent eye, Saturation<\/em>‘s montage playing around with the tempo of the long, medium, and extreme close-up shots that indicates Deleuze’s idea of “movement-image”, that is the flexibility and the liquid traits of cinematic perception; the idea that philosophically emphasizes the camera’s potentiality in going beyond general perception in order to pursue a pure vision of mechanic-eyes. In that sense, Saturation tries to summarize some parts of moving images aesthetics that break through the mainstream style of film expression.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565630255620-09735249-c7b8″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9745″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565630499315{margin-bottom: 0px !important;}”]Perrine Li\u00e9vois<\/strong><\/em> adalah seorang sutradara, penulis skenario, dan sound editor<\/em>. Sejumlah karyanya, antara lain Echoes<\/em> (2008) yang mendapat penghargaan Best Film Moondance, The Human Function<\/em> (2007), dan And if you meet a wall, cross-the<\/em> (2006).<\/p>\n

http:\/\/www.perrinelievois.com<\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565630516538{margin-bottom: 0px !important;}”]Perrine Li\u00e9vois<\/strong><\/em> is a director, screenwriter, and sound editor. Some of her films, among others are Echoes<\/em> (2008) which got Best Film Moondance, The Human Function<\/em> (2007), and And if you meet a wall, cross-the<\/em> (2006).<\/span><\/p>\n

http:\/\/www.perrinelievois.com<\/a><\/span>[\/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 style=”modern” spacing=”2″ active_section=”1″][vc_tta_section title=”FILMWORK” tab_id=”1565630531449-39fe7cf5-29bc”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9463″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565630613869{margin-bottom: 0px !important;}”]\n

Sapu Angin<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Cahyo Prayogo<\/strong> (Indonesia)
\nInternational Title<\/em>\u00a0\u00a0Windswept
\n<\/strong>Country of Production<\/em>\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0–
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

5 min 19 sec, HD, color, 2017[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565630635394{margin-bottom: 0px !important;}”]Menempatkan kamera pada tubuh merpati untuk merekam pemandangan dari langit, Sapu Angin<\/em> menyajikan bahasa eksperimental melalui visual yang terdeformasi; secara konseptual menggabungkan dua jenis bentuk-citra: pertama, yang nonstruktural dan tak terprediksi dari segi indera perseptual (karena pengambilan gambar diserahkan sepenuhnya kepada trajektori kepakan sayap burung), dan kedua, bentuk visual yang dapat diukur dalam logika anatomis \u2014 gerakan konstan sayap merpati telah terbukti secara ilmiah memiliki pola tertentu. Produksi yang didasarkan pada kombinasi konsepsi yang kontradiktif seperti itu, pada kenyataannya, menarik refleksi kritis mengenai perkembangan teknologis dari alat rekam kontemporer, tatkala kombinasi kamera aksi, aplikasi seluler, dan kendaraan udara tak berawak muncul secara komersial, memenuhi imajinasi kita tentang gambar bergerak yang canggih.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565630650767{margin-bottom: 0px !important;}”]Placing the camera on the body of the pigeon to record the scene from the sky, Sapu Angin<\/em> presents an experimental language through deformalized visual. It conceptually combines the two type of imagery-forms: the first, the one non-structural and unpredictable in perceptual senses (because the image capture was left entirely to the trajectory of the fluttering of the bird’s wings), and the second, the visual form that is measurable in anatomical logics\u2014the constant motion of the pigeon’s wings have been scientifically proved to have a certain pattern. The production based on the combination of such contradictory conceptions, in fact, draws a critical reflection of technological development of contemporary recording devices, in which the combination of action-cams, mobile apps, and unmanned aerial vehicles commercially emerge to meet our imagination of the sophisticated moving images.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565630532293-4b343895-b0c9″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9746″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565630777673{margin-bottom: 0px !important;}”]Cahyo Wulan Prayogo <\/strong><\/em>adalah seniman yang berbasis di Surabaya, Indonesia. Anggota Kinetik, sebuah komunitas yang fokus pada kegiatan seni dan sinema. Ia aktif membuat karya gambar bergerak menggunakan medium video sejak keterlibatannya pada program AKUMASSA Forum Lenteng. Sapu Angin <\/em>merupakan salah satu output<\/em> dari riset panjangnya mengenai fenomena \u201cadu doro<\/em>\u201d di kotanya berada.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565630798535{margin-bottom: 0px !important;}”]Cahyo Wulan Prayogo<\/strong><\/em> is an artist based in Surabaya, Indonesia. Member of Kinetik, a collective that focuses on arts and cinema activities. He has been active in making moving image works using video since his involvement in the Forum Lenteng\u2019s AKUMASSA program. Sapu Angin<\/em> is one of his films based on his long research on the phenomenon of “adu doro<\/em>” (\u2018pigeon contest\u2019) in his city.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][\/vc_tta_tabs][\/vc_column][\/vc_row][vc_row][vc_column][vc_text_separator title=”About the Host” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”8119″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565630892019{margin-bottom: 0px !important;}”]Manshur Zikri<\/strong><\/em>\u00a0(Pekanbaru, 1991) adalah seorang penulis-peneliti independen, kritikus, dan aktivisi kultural di bidang media, seni, dan filem. Anggota Forum Lenteng, sebuah organisasi egalitarian dan non-profit\u00a0 yang berbasis di Jakarta, berfokus pada kerja-kerja aktivisme kultural.<\/p>\n

Zikri adalah salah satu anggota tim selektor ARKIPEL\u00a0bromocorah.<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565637296023{margin-bottom: 0px !important;}”]Manshur Zikri<\/em>\u00a0<\/b>(Pekanbaru, 1991) is an independent writer-researcher, critic and cultural activist in the field of media, arts and film. A member of\u00a0Forum Lenteng<\/a>, an egalitarian and non-profit organization based in Jakarta which focuses on cultural activism.<\/span><\/p>\n

Zikri is one of the selector members at ARKIPEL\u00a0bromocorah<\/em>.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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