{"id":9813,"date":"2019-08-13T04:22:25","date_gmt":"2019-08-12T21:22:25","guid":{"rendered":"https:\/\/arkipel.org\/?p=9813"},"modified":"2024-08-12T09:14:51","modified_gmt":"2024-08-12T02:14:51","slug":"feedback","status":"publish","type":"post","link":"https:\/\/arkipel.org\/feedback\/","title":{"rendered":"Feedback"},"content":{"rendered":"[vc_row][vc_column][vc_column_text css=”.vc_custom_1565639375358{margin-bottom: 0px !important;}”]\n

Feedback
\n<\/em><\/strong>Umpan Balik<\/em><\/h1>\n

Curator: Dhuha Ramadhani<\/strong><\/p>\n

Saturday, August 24, 2019 | 19:00 | 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_1565639399733{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 multi-dimensional \u2014 di 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 filem yang dipilih ke dalam kurasi Candrawala tahun ini, setidaknya \u2014 dari konteks latar belakang, metode produksi, dan pilihan bahasa visualnya \u2014 mengindikasikan 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 \u2014 yang beradaptasi dan diadaptasi secara evolusioner di sepanjang kehidupan manusia \u2014 pada 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.Telusuri Kacamata yang disponsori mitra kami, dengan beragam pilihan untuk memenuhi setiap selera dan anggaran, tersedia untuk dibeli secara online<\/p>\n

Melalui Adegan Yang Hilang dari Petrus<\/em> (2019), <\/em>tanpa bermaksud menyederhanakan kompleksitas persoalannya, kita disajikan latar belakang sejarah yang mendahului sejumlah situasi dan kondisi dalam atmosfer sosial-politik hari ini.\u00a0 The Nameless Boy<\/em> (2017) menjadi contoh teraktual tentang bagaimana proses replikasi sudut pandang akan persoalan berlangsung dan tidak hanya akan berdampak pada situasi hari ini melainkan juga memungkinkan di masa yang akan datang. \u00a0Topo Pendem \/ Merged with The Ground<\/em> (2018), Gowok The Ins and Outs of A Woman\u2019s Body<\/em> (2018), dan Blues Sides on the Blue Sky <\/em>(2018) menjadi percontoh ketika persoalan yang naik ke permukaan pada dasarnya bukanlah persoalan yang pokok dalam keseharian kita. Bahwa dalam sirkulasi teks, gambar, video bahkan audio dan percakapan kita sehari-hari rupanya tidak menyentuh persoalan-persoalan mendasar yang riil. Ia justru menghantarkan kepentingan-kepentingan politis yang lebih dekat ke persoalan politik elektoral.<\/p>\n

Fade Out<\/em> (2019) dengan gamblang melancarkan kritiknya pada hal-hal yang mendasari tersendatnya kultur kritisisme di masyarakat kita ketika cara pandang tertentu dibatasi diskursusnya. Meski tidak menyinggung secara langsung dan tidak berusaha menggambarkan latar sosial-politik tokohnya, Woo Woo \/ Or the Silence That Kills You and Me<\/em> (2019) justru memperlihatkan pada kita bagaimana keterasingan seseorang dari manusia lain, dunia sosial, sudut-sudut pandang dan barangkali pilihan-pilihan alternatif berakhir pada sesuatu yang tidak konstruktif. Menyerahkan kerja perekaman pada seekor burung dara balap, Sapu Angin \/ Windswept<\/em> (2017) menyediakan ruang reflektif antara kita sebagai subjek yang menonton dan dunia sosial yang tersaji dalam bingkaian si sutradara. Ia turut memberikan gambaran tentang kondisi carut-marut yang terefleksi bahkan dari sesuatu yang nampaknya tertata. Sebaliknya, juga menunjukan adanya keputusan-keputusan yang mendahului penggambaran yang carut-marut tersebut. Melaluinya kita dapat membayangkan proses kerja sebuah pembentukan cara pandang ataupun narasi akan situasi dan kondisi tertentu.<\/p>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css=”.vc_custom_1565639431063{margin-bottom: 0px !important;}”]\n

It is 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 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 or word of mouth transmission seemly get its best modes, thanks to the internet, to unleash our main desire: to share.<\/p>\n

Consequently, to some extent, it’s hard to turn away from some contents which have certain substances. These contents, which seems like they\u2019re spreading randomly, show similarity to each other over time in their substance, form, even 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 to present themselves multi-dimensionally \u2013 in a higher level they can determine the mindset, behavior, and action of social groups. They come out of a vacuum of value and shows their partiality. We can argue that the longer those contents stay in the circulation, so to speak, the more relevant they would be to our current socio-cultural 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 apparent that they represent “voices” and “diverse perspectives” of many things rather than being present without purpose.<\/p>\n

Eight films selected in Candrawala curatorial this year, at least \u2014based on their background of context, method of production, and visual language choices\u2014 indicates the phenomenon of how units other than “media content” also experience similar symptoms. Such units have a directed circulation, rather than an 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 which 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.<\/p>\n

Through Adegan Yang Hilang Dari Petrus <\/i>(2019), without intending to simplify the complexity of the problem, the film features the historical background that precedes some situation and condition in the socio-political sphere today. The Nameless Boy<\/i> (2017) is the most actual example of how replication of perspectives on a problem occurs, and it impacts not only the situation today but possibly the future, too. Topo Pendem \/ Merged with The Ground <\/i>(2018), Gowok The Ins and Outs of A Woman\u2019s Body<\/i> (2018), and Blues Sides on the Blue Sky <\/i>(2018) are the examples of when the problems that emerge to the surface are not the main problem in our daily life. That within the circulation of contents, such as text, visual, video, even audio, and our everyday conversation doesn\u2019t touch the actual fundamental problems. Instead, it delivers political interests that belong more to the affairs of electoral politics.<\/p>\n

Fade Out (2019) <\/i>explicitly unleashes its criticism to some matters obstructing the culture of criticism in our society, that limits the discourse on a certain way of seeing. Although it doesn\u2019t directly address or depict the socio-political background of its character, Woo Woo \/ Or the Silence That Kills You and Me (2019) <\/i>shows us how the alienation of an individual from other individuals, the social world, perspectives, and alternatives choices would end up being unconstructive. Handing out the recording mechanism to a racing pigeon, Sapu Angin\/Windswept (2017) <\/i>provides us a reflective space between us, as the spectator, and the social world captured in the frame of the director. It also gives us the depiction of a chaotic condition reflected even from something that seems orderly. In contrast, it also shows the decisions that precede that depiction of chaos. Through it, we can imagine how the formation of perspective occurs regarding a particular situation and condition.<\/p>\n[\/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=”9377″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565640791040{margin-bottom: 0px !important;}”]\n

Adegan Yang Hilang dari Petrus draft #4<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Arief Budiman<\/strong> (Indonesia)
\nInternational Title<\/em>\u00a0\u00a0Adegan Yang Hilang dari Petrus draft #4
\n<\/strong>Country of Production<\/em>\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0Javanese & Indonesian
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

5 min, stereo, HD, color, 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_1565641263633{margin-bottom: 0px !important;}”]Dalam filem ini, Arief Budiman mengangkat proses yang mendahului Peristiwa Lapangan Banteng. Tokoh dalam filem berkisah tentang perjalanan dirinya bersama Kelompok Fajar Menyingsing (KFM) menuju Jakarta dari Semarang pada tahun 1982. Lebih jauh, Arief mempersoalkan kembali peristiwa Petrus di tahun 1980-an ketika pemerintah dan elit politik menggunakan ketakutan sebagai instrumen kontrol masyarakat. Menggunakan sumber-sumber foto dan narasi yang tersebar di internet, filem Adegan Yang Hilang Dari Petrus <\/em>mengeksplorasi pembuatan filem tanpa menggunakan kamera.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565641281494{margin-bottom: 0px !important;}”]In this film, Arief Budiman raises a process preceding the Lapangan Banteng incident. The figure in this film narrates his journey with Kelompok Fajar Menyingsing<\/em> (KFM), heading to Jakarta from Semarang, in 1982. Furthermore, Arief re-problematizes the Petrus killings that occurred in the 1980s when the government and political elites used fear as the instrument to control society. By using photographs and narratives scattered on the internet as his its sources, Adegan Yang Hilang Dari Petrus s<\/em>explores a camera-less filmmaking process.\u00a0<\/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=”9828″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565641396956{margin-bottom: 0px !important;}”]Arief Budiman <\/strong><\/em>adalah seniman kelahiran Depok yang kini menjalani studi mengenai sinema di Yogyakarta. Arief menggunakan gambar bergerak sebagai medium utama karyanya. Di samping melakukan eksplorasi bentuk secara spontan dan intuitif, ia juga membahas isu tentang gaya hidup atau perilaku masyarakat terkini dan pengaruh Internet. Ia aktif di Piring Tirbing, sebuah kelompok produksi dan pengembangan konten audio visual. Selain itu ia ikut mengurus program Video Battle dan Cafe Society Cinema di Ruang Mes 56.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565641426676{margin-bottom: 0px !important;}”]Arief Budiman<\/strong><\/em> is a Depok-born artist who is now studying cinema in Yogyakarta. Arief used moving images as the primary medium of his work. In addition to exploring forms spontaneously and intuitively, he also discusses issues about current lifestyle or community behavior and the influence of the Internet. He is active in Piring Tirbing, a group that produces and develops audio-visual content. Also, he took care of the Video Battle program and Cafe Society Cinema in Ruang Mes 56.<\/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=”1565641446820-53d60be7-11b2″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9470″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565641550129{margin-bottom: 0px !important;}”]\n

The Nameless Boy<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Diego Batara Mahameru<\/strong> (Indonesia)
\nInternational Title<\/em>\u00a0\u00a0The Nameless Boy
\n<\/strong>Country of Production<\/em>\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0Indonesian
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

5 min 17 sec, stereo, digital, 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_1565641574512{margin-bottom: 0px !important;}”]Ciri fisik dan faktor biologis telah lama kehilangan relevansinya untuk memahami mengapa seseorang menjadi pelaku penyimpangan atau kejahatan. Sejumlah kriminolog meyakini bahwa perilaku itu adalah sesuatu yang dipelajari secara sosial, sejumlah lain menekankan pada proses pewacanaan yang dilakukan agen-agen tertentu untuk mempertahankan ideologi bahwa kejahatan adalah realitas yang konkret. Relasi hierarkis memungkinkan sebagian agen menggunakan kekuatannya untuk membentuk wacana dominan tentang kejahatan: hukum, produksi dan reproduksi ketakutan, dan pemberitaan bernarasi tunggal. The Nameless Boy, <\/em>selain sebagai arsip peristiwa sebuah proses sosial, juga dapat digunakan untuk mengkaji bagaimana produksi sosial hari ini dapat mempengaruhi dunia sosial di masa depan.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565641591558{margin-bottom: 0px !important;}”]Physical characteristic and biological factor have long lost its relevance to understand why someone becomes an offender or a deviant. Some criminologists believe that those behaviors are something studied socially, some others emphasize the discourse-making conducted by certain agents to defend an ideology that believes the crime as a concrete reality. Hierarchal relation allows some of the agents to use their power to shape the dominant discourse of crime: law, production, and reproduction of fear, and single narrative reporting. The Nameless Boy<\/em>, besides as an archive of social occurrences, it can also be used to study how social production today could affect the social world in the future.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565641447577-ee9f999d-9c72″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9831″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565641964450{margin-bottom: 0px !important;}”]Diego Batara Mahameru<\/strong><\/em> adalah pembuat filem independen yang berbasis di Jakarta, Indonesia. Setelah lulus dari jurusan ilmu politik, Diego bekerja sebagai jurnalis video. Karirnya sebagai pembuat filem dimulai dengan film pendek berjudul Calon<\/em> (2015), yang terpilih di beberapa festival filem termasuk Jogja-Netpac Asian Film Festival. Filemnya yang berjudul The Nameless Boy<\/em> (2017) telah dipilih di beberapa festival filem internasional. Dia saat ini berpartisipasi dalam lokakarya filem atau program beasiswa, seperti ASEAN-ROK Film Leader Incubator: FLY.<\/em> Saat ini, ia sedang belajar di Busan Asian Film School (AFIS).[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565641992453{margin-bottom: 0px !important;}”]Diego Batara Mahameru<\/strong><\/em> is an independent filmmaker based in Jakarta, Indonesia. After graduated in political science major, Diego worked as a video journalist. His career as a filmmaker starts with a short film titled Calon<\/em> (2015), it was selected in several film festivals including Jogja-Netpac Asian Film Festival. His film The Nameless Boy<\/em> (2017) has been selected in several international film festivals. He is currently participating in film workshops or fellowship program, such as ASEAN-ROK Film Leader Incubator: FLY. Currently, he is studying in Busan Asian Film School (AFIS).<\/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=”1565642000692-d6b10309-871f”][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9817″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565642192446{margin-bottom: 0px !important;}”]\n

Topo Pendem<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Imam Syafi\u2019i<\/strong> (Indonesia)
\nInternational Title<\/em>\u00a0\u00a0Merged with The Ground
\n<\/strong>Country of Production<\/em>\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0Javanese
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

18 min 24 sec, stereo, digital, 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_1565642223870{margin-bottom: 0px !important;}”]Laku topo pendem <\/em>diyakini sebagai warisan Sunan Kalijaga, yakni seorang Wali yang kerap mengakulturasi budaya lokal dan Islam dalam berdakwah. Melalui aksi ini, dipercaya harapan kita akan dikabulkan Yang Maha Kuasa; umumnya kesehatan, keselamatan jiwa dan raga dari gangguan dan ancaman. Menokohkan seorang anak yang menyandang autisme, filem ini berkisah tentang usaha seorang bapak yang melakukan topo pendem <\/em>demi anaknya. Dalam beberapa kasus, kondisi medis tertentu ditangani dengan cara \u2018khas\u2019 secara non-medis, bergantung pada budaya setempat \u2013 berlandaskan kepercayaan maupun keterbatasan pilihan. Topo Pendem <\/em>membingkai ketidakberiringan sirkulasi masuknya pengetahuan dan produk massal di suatu wilayah yang terlanjur dianggap lumrah terjadi di Indonesia.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565642243434{margin-bottom: 0px !important;}”]People believes that the act of topo<\/em> pendem<\/em> (merging with the ground) is a legacy from Sunan Kalijaga \u2013 a Wali<\/em> (guardian) who often converge the local and Islamic culture in their preaching. Through this act, people believe that the Almighty will grant their pray; generally regarding health, safety of body and soul from any threat and intrusions. Capturing a child as an autistic figure, this film narrates the effort of a father who committed topo<\/em> pendem<\/em> for his son. In several cases, certain medical condition receives \u2018typical\u2019 non-medical treatment, depending on the local custom \u2013 based on a believe or the limited choices. Topo<\/em> Pendem<\/em> frames the unsynchronized circulation of the influx of knowledge and mass product in a certain location that already regarded as a habit in Indonesia.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565642002900-12043ff2-a380″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9835″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565642303057{margin-bottom: 0px !important;}”]Imam Syafi\u2019i<\/strong> <\/em>(Klaten, 22 April 1997) adalah seorang mahasiswa di Institut Kesenian Jakarta dan saat ini tinggal di Jawa Tengah, Indonesia. Ia kini aktif bergiat sebagai pembuat filem.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565642341958{margin-bottom: 0px !important;}”]Imam Syafi\u2019i<\/strong> <\/em>(Klaten, 22 April 1997) is a student in the Jakarta Institute of the Arts and he lives in Central Java, Indonesia. He is currenly active as a filmmaker.<\/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=”1565642352119-e8b8858b-2808″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9836″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565642490870{margin-bottom: 0px !important;}”]\n

Gowok<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Steve Masihoroe<\/strong> (Indonesia)
\nInternational Title<\/em>\u00a0\u00a0The Ins and Outs of A Woman\u2019s Body
\n<\/strong>Country of Production<\/em>\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0Indonesian
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

17 min 16 sec, stereo, digital, 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_1565642527042{margin-bottom: 0px !important;}”]Kedatangan dan kuatnya pengaruh Islam menekan Pemerintah Hindia Belanda menghapus tradisi Gowok. Istilah Gowok merujuk pada perempuan yang berjasa dalam mempersiapkan lelaki sebelum menikah. Utamanya memastikan si lelaki mampu memperlakukan perempuan dengan baik \u2014 mental dan fisik. Pemilihan Gowok umumnya disepakati kedua keluarga calon mempelai. Berlatar persoalan tingginya angka perceraian yang terjadi di Indonesia, filem ini berusaha menghadirkan kembali tradisi yang telah lama hilang dalam situasi kontemporer hari ini. Melaluinya kita dapat melihat persoalan tubuh perempuan ketika ia dihadirkan dalam bingkai kamera dan bagaimana hal ini dapat kita telaah untuk memahami ketabuan dan pengaruhnya di masyarakat kita.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565642553945{margin-bottom: 0px !important;}”]The arrival of Islamic influence and its strength pushed the Dutch East Indies government to erase the tradition of Gowok<\/em>. As a term, Gowok<\/em> refers to the women who render service to prepare men before marriage, primarily ensuring the man\u2019s ability to treat a woman well \u2013 mentally and physically. Family of the groom and bride usually decide the Gowok<\/em>. Putting the height of divorce rate in Indonesia as its background, this film tries to bring forth again the long-lost tradition within today\u2019s situation. Through it, we can see the case of woman bodies when it is in the frame of the camera and how we can analyze this to understand taboo and its influence in our society.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565642354654-067def1f-2fcd”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9837″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565642622043{margin-bottom: 0px !important;}”]Steve Masihoroe<\/strong><\/em> adalah sutradara filem pendek Ayo Kita Pulang<\/em>, Closer<\/em> dan Gowok<\/em> yang telah diputar di berbagai festival filem. Ia belajar di Art Film School Yogyakarta dan di jurusan Komunikasi Universitas Mercu Buana Yogyakarta. Dia juga penasihat di Ruang Gelap \u2013 sebuah klub audiovisual dan produksi.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565642650574{margin-bottom: 0px !important;}”]Steve Masihoroe<\/strong><\/em> is director of short films Ayo Kita Pulang, Closer <\/em>and Gowok<\/em> that have been screened in numerous film festivals. He studied at Art Film School Yogyakarta and in Communication Science of Mercu Buana University Yogyakarta. He is also the advisor in Ruang Gelap<\/em> \u2013 an audiovisual club and production.<\/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=”1565642685794-9c444690-d647″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9460″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565642996424{margin-bottom: 0px !important;}”]\n

Blues Side on the Blue Sky<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Rachmat Hidayat Mustamin<\/strong> (Indonesia)
\nInternational Title<\/em>\u00a0\u00a0Blues Side on the Blue Sky
\n<\/strong>Country of Production<\/em>\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0Buginese
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

15 min 30 sec, stereo, digital, 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_1565643034919{margin-bottom: 0px !important;}”]Ketidakpahaman masyarakat akan kondisi medis terkait jiwa membuat beberapa penyandangnya berakhir dipasung \u2014 demi \u2018melindungi\u2019 dirinya dan orang sekitar. Tak jarang kondisi tersebut dikaitkan dengan hal-hal supranatural, gaib, dan non-medis seperti kerasukan.\u00a0 Mitos, dalam praktiknya, begitu kental mengalir dalam sebagian masyarakat kita dan ia cukup berperan dalam pengambilan keputusan-keputusan. Menggunakan sarung sebagai metafora, Rachmat berupaya menampilkan bagaimana seorang ibu berjuang demi anaknya dalam situasi yang demikian itu.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565643064776{margin-bottom: 0px !important;}”]Society\u2019s misunderstanding of mental medical condition makes some of its patients end up in shackle \u2013 to \u2018protect\u2019 themselves and the people around them. Often that condition will be linked to supernatural, mystical, and non-medical things such as being possessed. The myth, on its practice, flows thickly in most of our society and it plays an important role in decisions making. Using sarong as a metaphor, Rachmat tries to showcase how a mother must struggle for her child within such a difficult situation.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565642688688-e8ea1bfe-613f”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9840″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1566377089983{margin-bottom: 0px !important;}”]Rachmat Hidayat Mustamin<\/strong>\u00a0<\/em>adalah seorang sutradara filem, penulis, penyair, performer, dan seniman. Dia lulus dari Universiti Kebangsaan Malaysia pada tahun 2014. Sejak tahun 2017, ia menempuh pendidikan masternya di Program Penciptaan Film Pascasarjana, Institut Seni Indonesia Surakarta. Ia juga adalah seorang kontributor di Kinotika, sebuah komunitas yang mengorganisir pemutaran dan lokakarya filem, dan Direktur Program di Imitation Film Project, sebuah komunitas dan laboratorium filem yang berfokus dalam pembuatan program dan filem alternatif, keduanya berbasis di Makassar, Sulawesi Selatan. Filem-filem pendeknya antara lain\u00a0Ziarah\u00a0<\/em>(2015),\u00a0A Tree Growing Inside My Head\u00a0<\/em>(2016), dan\u00a0The End\u00a0<\/em>(2016). Filem pendeknya yang terakhir\u00a0Blues Side on The Blue Sky\u00a0<\/em>(2018) pernah diputarkan di Akademi ARKIPEL 2018. Dia juga telah menerbitkan sejumlah buku, antara lain\u00a0Hujan Bakawali Di Rumah Tuhan<\/em>\u00a0(Rumah Ripta, 2018) \u2013 Anthology,\u00a0Origins: A Bilingual Anthology of Indonesian Writing\u00a0<\/em>(Bitread, 2017) \u2013 Anthology,\u00a0Kesibukan Mencatat Bayangan Di Dalam Rumah\u00a0<\/em>(Selfpublishing, 2017),\u00a0Merelakan Diri Terbakar\u00a0<\/em>\u00a0(Indie Book Corner, 2017) \u2013 Poetry Collection\u00a0, dan\u00a0Benang Ingatan\u00a0<\/em>(Indie Book Corner, 2016) \u2013 Anthology.<\/p>\n

\n

*Terdapat kesalahan dalam katalog cetak ARKIPEL bromocorah 2019, biodata yang tercantum di dalamnya adalah biodata produser dari filem ini\u00a0<\/em>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1566377167594{margin-bottom: 0px !important;}”]Rachmat Hidayat Mustamin<\/strong>\u00a0<\/em>is a film director, writer, poet, performer and artist. He graduated from National University Of Malaysia in 2014. Since 2017 he has taken his master\u2019s at the Indonesia Institute of The Arts Surakarta (Masters in filmmaking). He is also a contributor in Kinotika, a community is organising film screening and workshops, and Program Director at Imitation Film Project, a community and mini creative film development lab that focuses on the making of alternative programs and films, both based in Makassar, South Sulawesi. His short films include\u00a0Ziarah<\/em>(Pilgrimage) (2015),\u00a0A Tree Growing Inside My Head<\/em>\u00a0(2016), and\u00a0The End<\/em>\u00a0(2016). His last short film\u00a0Blues Side on The Blue Sky<\/em>\u00a0(2018) has been screened at Akademi ARKIPEL 2018. He has also published a number of books such as\u00a0Hujan Bakawali Di Rumah Tuhan<\/em>\u00a0(Rumah Ripta, 2018) \u2013 Anthology,\u00a0Origins: A Bilingual Anthology of Indonesian Writing<\/em>\u00a0(Bitread, 2017) \u2013 Anthology, Kesibukan Mencatat Bayangan Di Dalam Rumah<\/em>\u00a0(Selfpublishing, 2017),\u00a0Merelakan Diri Terbakar<\/em>\u00a0(Indie Book Corner, 2017) \u2013 Poetry Collection, and\u00a0Benang Ingatan<\/em>\u00a0(Indie Book Corner, 2016) \u2013 Anthology.<\/p>\n

\n

*There is a mistake in the printed catalog of ARKIPEL bromocorah, the biograpy written is the producer’s biography<\/em>[\/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=”1565643256224-ec901a31-f467″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9469″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565643347595{margin-bottom: 0px !important;}”]\n

Fade Out<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Achmad Rezi Fahlevie<\/strong> (Indonesia)
\nInternational Title<\/em>\u00a0\u00a0Fade Out
\n<\/strong>Country of Production<\/em>\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0Indonesian
\n<\/strong>Subtitle<\/em>\u00a0\u00a0English<\/strong><\/p>\n

8 min 4 sec, stereo, digital, color, 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_1565643374240{margin-bottom: 0px !important;}”]Tanpa berbasa-basi, filem ini mempersoalkan pelarangan cara berpikir tertentu dalam lingkungan yang diharapkan mampu melatih anak manusia dapat berpikir rasional dan kritis. Lebih dari 50 tahun, ia terus dimapankan melalui cara-cara formal, informal, maupun nonformal. Kurikulum diambil sebagai salah satu percontoh untuk memperlihatkan bagaimana rezim kebenaran tertentu dipertahankan melalui pengetahuan. Hal mana, pengetahuan barang tentu memiliki efek kuasa \u2013 yang melalui itulah kekuasan teraktualisasikan. Fade Out, <\/em>dengan begitu gamblang, turut menyajikan bagaimana cara berpikir itu sebenarnya tetap hadir. Namun, kehadirannya yang hanya di ruang privat \u2014 bukan ruang publik \u2014 sekaligus juga menjadi gambaran mengapa rezim kebenaran tertentu tetap bertahan.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565643390802{margin-bottom: 0px !important;}”]This film problematizes restriction on a certain way of thinking in an environment that is expected able to educate the human to think rationally and critically. More than 50 years, it gets more established through formal, informal, and nonformal ways. The curriculum is a sample showing how knowledge maintains a particular regime of truth. The knowledge surely has the effect of power \u2013 which through it, actualization of power occurs. Fade Out<\/em> explicitly presents how that way of thinking remains exist. But the presence is only in private space \u2013 not in public space \u2013 and it becomes a depiction of why a certain regime of truth survives.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565643257078-4e2695e8-4dc6″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9841″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565643439130{margin-bottom: 0px !important;}”]Achmad Rezi Fahlevie<\/strong><\/em> (Kendawangan, 11 Juli 1996) adalah seorang pembuat filem dari Yogyakarta. Filem-filemnya telah diputar di berbagai festival filem nasional dan internasional.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565643462665{margin-bottom: 0px !important;}”]Achmad Rezi Fahlevie<\/strong><\/em> (Kendawangan, 11 July 1996) is a filmmaker from Yogyakarta. His films have been screened in national and international film festivals.<\/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=”1565643468111-bbd1542f-a393″][vc_row_inner][vc_column_inner width=”1\/2″][vc_single_image image=”9462″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565643557712{margin-bottom: 0px !important;}”]\n

Woo Woo<\/strong><\/h2>\n

Filmmaker\u00a0<\/em>Ismail Basbeth<\/strong> (Indonesia)
\nInternational Title<\/em>\u00a0\u00a0Or the Silence That Kills You and Me
\n<\/strong>Country of Production<\/em>\u00a0Indonesia
\n<\/strong>Language<\/em>\u00a0\u00a0–
\n<\/strong>Subtitle<\/em>\u00a0\u00a0–<\/strong><\/p>\n

13 min 41 sec, stereo, digital, color, 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_1565643584824{margin-bottom: 0px !important;}”]Kesendirian yang menjadi semacam penyakit manusia modern, khususnya masyarakat urban, menjadi topik yang coba dibongkar oleh Woo Woo<\/em>. Filem yang adalah adaptasi sebuah lagu dari band Sore ini bahkan tak menyinggung alasan-alasan \u2013 spiritual maupun ideologis \u2013 yang melatari aksi bom bunuh diri tokohnya. Meski mencoba tak terikat konteks sosial maupun politik, namun melaluinya kita dapat menelaah prakondisi yang memungkinkan terjadinya alienasi pada diri seseorang, baik dari manusia lain maupun dunia sosial. Plot disusun linier dengan kamera handheld<\/em> yang apa adanya, Basbeth agaknya menyerahkan narasi filem pada interpretasi personal penontonnya.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565643602014{margin-bottom: 0px !important;}”]Woo Woo <\/em>attempts to unfold the topic of solitariness that has became a kind of modern human disease, especially in urban society. The film, which is an adaptation from a song by Sore band, doesn\u2019t feature the reasons \u2013 both spiritually or ideologically \u2013 that drives its character to commit a suicide bombing. Even though the film tries not to be limited by a certain social or political context, but we can examine the preconditions that enable an alienation happens to an individual, both from other individuals or social world. The visuals from handheld camera compose its linear plot, it seems that Basbeth hand over the narrative of his film to the interpretation of the film\u2019s audience.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565643469249-2d8ab397-d617″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9842″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565643664621{margin-bottom: 0px !important;}”]Ismail Basbeth<\/em> <\/strong>(Wonosobo, 1985) adalah seorang sutradara dan seniman visual Indonesia yang juga adalah lulusan Berlinale Talent Campus di Jerman dan Asian Film Academy <\/em>di Korea Selatan \u2013 di sana, ia berhasil mendapat Beasiswa BFC & SHOCS. Sejak tahun 2008, ia telah memproduseri dan menyutradarai berbagai filem pendek maupun filem panjang yang tampil dalam berbagai festival nasional maupun internasional. Ia merupakan produser dan salah satu pendiri Matta Cinema dan Bosan Berisik Lab.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565643873824{margin-bottom: 0px !important;}”]Ismail Basbeth <\/strong><\/em>(Wonosobo, 1985) is a self-taught Indonesian filmmaker and visual artist, alumni of Berlinale Talent Campus in Germany and Asian Film Academy in South Korea where he won the BFC & SHOCS Scholarship Fund. Since 2008, he had produced and directed various short and feature films which have been highlighted in prestigious national and international film festivals. He is a producer and co-founder of Matta Cinema and Bosan Berisik Lab.<\/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=”1565643847504-3440dd06-405f”][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_1565643951132{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_1565643978898{margin-bottom: 0px !important;}”]Merekam masifnya ekspansi properti di pinggiran kota Surabaya. Ketimbang menyusun gambar-gambar secara konvensional, Sapu Angin <\/em>memberikan tawaran pada kita dengan bahasa visualnya yang sama sekali lain dari kecenderungan tersebut. Melihat persoalan di suatu lokasi dengan menyerahkan kerja mekanik kamera pada seekor burung dara balap. Keputusan sutradara ini justru memberikan kita peluang pembacaan yang lebih luas dari sekadar isu-isu pembangunan. Ia turut memberikan gambaran tentang kondisi carut-marut yang terefleksi bahkan dari sesuatu yang nampaknya tertata.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text css=”.vc_custom_1565643991563{margin-bottom: 0px !important;}”]The film records the massive expansion of property in the suburb of Surabaya. Instead of composing images conventionally, Sapu Angin <\/em>offers us a completely different visual language from that tendency. The film looks at a problem in a location by handing over the mechanical work of the camera to a racing pigeon. This director\u2019s decision gives us the opportunity for a broader interpretation than merely a problem of development. It allows us to offer a depiction of the chaotic situation reflected even from something that seems orderly.<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_tta_section][vc_tta_section title=”FILMMAKER” tab_id=”1565643848902-3bf199cf-531e”][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9843″ img_size=”full” add_caption=”yes”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565644031547{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_1565644047559{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 Curator” color=”black” border_width=”2″][vc_row_inner][vc_column_inner width=”1\/6″][vc_single_image image=”9844″ img_size=”full”][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565644807989{margin-bottom: 0px !important;}”]Dhuha Ramadhani<\/strong><\/em> (lahir 23 Februari 1995, di Jakarta) adalah pembuat film dan kurator. Menyelesaikan pendidikan sarjana di Departemen Kriminologi, Fakultas Ilmu Sosial dan Ilmu Politik, Universitas Indonesia. Anggota Forum Lenteng, aktif sebagai salah satu peserta program AKUMASSA. Sekarang, dia juga seorang peserta dalam Milisifilem Collective. Sejak 2018, ia adalah kurator program Candrawala di ARKIPEL – Jakarta International Documentary and Experimental Film Festival. Pada Juli 2019 ia mempresentasikan kuratorialnya di Asia Forum 3 untuk EXiS – Experimental Film and Video Festival 2019, Seoul, Korea Selatan. Film-film terbarunya adalah Jakarta Unfair<\/em> (2016) dan Into The Dark<\/em> (2018).[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”5\/12″][vc_column_text css=”.vc_custom_1565644739336{margin-bottom: 0px !important;}”]Dhuha Ramadhani<\/strong><\/em> (b. February 23, 1995, in Jakarta) is a filmmaker and curator. Completed undergraduate education at the Department of Criminology, Faculty of Social and Political Sciences, University of Indonesia. Member of the Forum Lenteng, active as one of the AKUMASSA program participants. Now, he is also a participant in the Milisifilem Collective. Since 2018, he is the curator of Candrawala program at ARKIPEL – Jakarta International Documentary and Experimental Film Festival. On July 2019 he presented his curatorial on Asia Forum 3 for EXiS – Experimental Film and Video Festival 2019, Seoul, South Korea. His latest films are Jakarta Unfair<\/em> (2016) and Into The Dark<\/em> (2018).<\/span>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

It is 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 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? 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