Puisi Teknologi Gambar Bergerak: Di “Antara”, “Saling”, Dan “Pakai” The Tech-Poetry Of Moving Image: In “Between”, “Relating”, And “Use” 56

ICUCICU

Country of production Singapore Language English Subtitles English 14 min, stereo, HD, color, 2019

Pengetahuan trivial satu bertemu dengan pengetahuan trivial lainnya. Bahasan kolonialisme, dominasi dan internet dirajut oleh tuturan dan visual yang feminin serta aksi yang arbitrer hingga menjadi sebuah esai kritis. Representasi kultur internet yang serba dangkal dan manasuka kemudian dihadirkan tidak lagi sebagai sebuah persoalan saja, tetapi sekaligus sebagai cara ungkap yang mengumpat dan melawan dominasi itu sendiri. One trivial knowledge encounters other trivial knowledge. The discussion of colonialism, domination, and the internet was knitted by feminine visuals and talks along with arbitrary action until it forms a critical essay. The random and superficial representation of internet culture appears no longer as a problem, but at the same time as a way to condemn and counter the domination itself.

Giuliana Rossi Foulkes & Charlotte Hong (USA & Singapore)

Anggraeni Widhiasih

Giuliana Rossi Foulkes adalah sutradara dan seniman visual yang tinggal di LA, lulus dari jurusan Film/Video di California Institute of the Arts. Karya-karyanya bersifat pribadi, konfrontatif, dan agresif secara estetika, dengan dipandu oleh pertanyaan tentang trauma, perasaan, dan ingatan. Baru-baru ini, ketertarikannya pada hubungan kekuasaan telah mendorongnya menjelajahi ranah pengaruh yang berjejaring.

Charlotte Hong adalah seniman animasi, pembuat film, dan ilustrator yang dibesarkan di Singapura dan kini berbasis di Los Angeles, lulus dari California Institute of the Arts dengan jurusan Animasi Eksperimental. Giuliana Rossi Foulkes is an LA-based filmmaker and visual artist, graduated from Film/Video degree in California Institute of the Arts. Their work is deeply personal, confrontational, and aesthetically aggressive, guided by questions of trauma, affect, and memory. Recently, their interest in relations of power has led them to explore networked realms of affect.

Charlotte Hong is an animation artist, filmmaker, and illustrator raised in Singapore and based in Los Angeles, graduated from the California Institute of the Arts majoring in Experimental Animation.

DI PINGGIR KALI CITARUM

Country of production Indonesia Language Subtitles 16 min, stereo, HD, color, 2019

Perekaman yang intens terhadap profil kerja keseharian seorang tukang rakit di sebuah sudut di pinggir kali Citarum membawa kamera mengeksplorasi sudut-sudut lokasi di sebuah ekosistem. Perekaman itu lambatlaun mengungkapkan gambaran lanskap alam dan sosial di pinggiran kali Citarum. Siklus sosial manusia dan siklus alam berjalan berdampingan dan membangun puisinya tentang siklus kehidupan dalam sebuah ekosistem. An intense recording of the profile of a rafter's daily work in a nook on the edge of the Citarum river brings the camera to explore the corners of a location in an ecosystem. This recording has gradually revealed the picture of a natural and social landscape on that nook. The human social cycle and the natural cycle coexist and establish their poetry about a certain cycle of life in an ecosystem.

Ali Satri Efendi (Indonesia)

Anggraeni Widhiasih

Ali Satri Efendi, lahir di Karawang dan tinggal di Bekasi. Ia bekerja sebagai dosen dan rutin membuat filem pendek, minimal satu buah setiap tahunnya. Filem pendek eksperimentalnya, Gelombang Longitudinal, terpilih dalam program Candrawala ARKIPEL 2016. Puisi dan cerpennya telah dimuat di berbagai antologi dan media. Ali Satri Efendi, born in Karawang and lives in Bekasi. He works as lecturer and routinely makes at least one short film each year. His experimental short film Gelombang Longitudinal was selected in Candrawala program at 2016 ARKIPEL. His poems and short stories were published in various anthology and media.

KOMPETISI INTERNASIONAL 03

Puisi Teknologi Gambar Bergerak: di “Antara”, “Saling”, dan “Pakai”

Pingkan Polla

Menurut legenda, saat pertama kali representasi kereta yang bergerak ke arah kamera diproyeksikan, gambar bergerak tersebut berhasil memberikan efek kejut, ketakutan, bahkan teror kepada sekumpulan orang yang melihatnya. 1 Penonton dalam sekejap ditawarkan oleh kekuatan sugestif gambar bergerak yang mengacaukan ingatan mereka dengan kenyataan dan representasi. Terlepas dari benar atau tidaknya mitos yang dipercayai dibuat sebagai agen pemasaran pemutaran filem produksi Lumiere Bersaudara, hal ini menunjukkan bahwa pada masa awal kemunculannya, filem dianggap memiliki kekuatan yang menakjubkan melalui ilusi yang diciptakan oleh gambar bergerak.

1.  Hellmuth Karasek dalam artikelnya yang dimuat di majalah terbitan Jerman Der Spiegel pada 26 Desember 1994 edisi ke-52, halaman 154, yang mengatakan “Yes, it caused fear, terror, even panic.”.

Dari pabrik Lumiere, filem kemudian dibawa ke benua lainnya, mengikuti jalur penaklukan tanah koloni. Filem menjadi bagian dari teknologi modern yang dipakai oleh subjek mahakuasa untuk merekam kultur yang di dalamnya terdiri dari ingatan-ingatan objek yang selamat dari aksi subjek yang destruktif. Rekaman diproses secara kimiawi dan membentuk representasi ingatan objek yang tersisa. Kemudian ia diinstitusikan, ditayangkan kembali atas nama pengetahuan peradaban yang terus-menerus dirawat oleh rezim kultural agar menjadi ingatan mengenai penaklukan.

Suatu hari, 130 tahun kemudian sejak kereta Lumiere pertama kali lewat di antara sorotan cahaya, ingatan atas rezim modernisme diproduksi ulang lewat gawai yang tersimpan di kantong-kantong sebagai konsekuensi dari keberjarakan dengan akses pengetahuan yang telah terkeruk. Sebuah karya seni video Jati Goes to Rotterdam oleh Otty Widasari menunjukkan bagaimana seniman merespons sebuah arsip filem produksi pemerintah Hindia-Belanda yang pada saat itu direkam dengan kamera film seluloid. Filem tersebut, yang telah dipresentasikan secara digital, ditampilkan di Eye Filmmuseum, Amsterdam. Si seniman, dengan kamera ponselnya, merekam ulang arsip tersebut dan menghasilkan replikasi baru. Ia kemudian menayangkan video rekamannya pada layar komputer yang diletakkan di beberapa sudut kota Rotterdam, hingga kembali ke lokasi awal tempat arsip filem kolonial dibuat, yaitu di hutan Jati di Pulau Jawa.

Aksi replikasi tersebut memunculkan lapisan-lapisan teknologi hari ini atas sebuah ingatan. Karya video tersebut, secara tidak langsung, mengubah medium teknologi gambar bergerak dan narasinya. Filem, yang awalnya merupakan hasil prosesi kimiawi, berubah menjadi gambar bergerak yang dihasilkan dari kumpulan jutaan pixel. Ingatan tentang kejamnya peradaban juga berubah menjadi ingatan atas lapisan kerja media. Narasinya pelan-pelan berubah. Ia tidak lagi membicarakan rezim kolonialisme yang menggunakan produk modern, melainkan rezim representasi yang diceritakan dengan langgam seni rupa sebagai diksi teknologis yang performatif.

Gambar bergerak, setelah melalui perjalanan panjang, tidak kehilangan kekuatan ilusinya. Secara turun-temurun ia mengalami penyempurnaan medium yang makin dekat dengan keseharian. Ia dikembangkan dengan cara mereplikasi kenyataan secara terus-menerus. Kenyataan yang kemudian terdeformasi tersebut, akhirnya terurai menjadi lapisan-lapisan yang membentuk sebuah rezim representasi. Di bawah rezim representasi, gambar bergerak makin menunjukkan khitahnya sebagai agen myth-form-action yang memuslihatkan dan mengejar realitas representasi yang bebas dikonsumsi dan dimaknai, tergantung pengetahuan subjek dan objeknya.

Pada kedelapan filem dalam kuratorial ini, kita melihat trajektori teknologi gambar bergerak yang menegaskan ingatan mengenai sejarah kekuasaan

peradaban Barat, rantai konsumsi, puisi kontemporer, bahasa visual yang performatif, dan aksi pembesaran yang mengembalikan representasi visual kepada khitah digital. Trajektori ini menunjukkan rezim representasi yang selalu terikat pada sejarah kejamnya peradaban—bahwa representasi yang dikonsumsi adalah bentuk pemujaan yang terjadi dalam hubungan subjek dan objek. Subjek dan objek selalu didorong oleh rezim representasi untuk berhubungan dengan cara “antara”, “saling”, dan “pakai”. Posisinya relatif. Hubungan itu bisa menjadi destruktif atau kompromis, tergantung pada lokasi tempat sebuah narasi beserta ingatan lahir dan berkembang.

INTERNATIONAL COMPETITION 03

The Tech-Poetry of Moving Image: in “Between”, “Relating”, and “Use”

Pingkan Polla

According to legend, the first time the representation of a train moving towards the camera was projected, the moving image succeeded in giving a shock, fear, and even terror effects to a group of people who saw it. 1 The audience instantly experienced the suggestive power of moving images that confused their memories of reality and representations. Regardless of whether or not the myth was created as a marketing strategy for the Lumiere Brothers’ film screening, this shows that in its early days, cinema was considered to have an amazing illusory power created by moving images.

1.  Hellmuth Karasek in his article published in the German magazine Der Spiegel on December 26, 1994, 52nd issue, page 154, which said “Yes, it caused fear, terror, even panic.”.

From the Lumiere factory, cinema was then carried to other continents, following the colonizer’s path of conquering the colony’s lands. Cinema was part of the modern technology used by the mighty subjects to record a culture in which the memories of objects that have survived the destructive actions of those subjects. The recordings were chemically processed, and they formed a representation of memory of the remaining objects. Then they were instituted, re-broadcast in the name of the knowledge of civilization, which was relentlessly promoted as a memory of conquest by the cultural regime.

130 years after the train in Lumiere’s film first passed through the beams of light, memories of the modernist regime were reproduced through gadgets stored in pockets. This is a consequence of the gap in accessing the knowledge that has been taken away. A video artwork titled Jati Goes to Rotterdam by Otty Widasari shows how the artist responds to the archival footage produced by the Dutch East Indies government with celluloid cameras. The digitalized footage was shown at the Eye Filmmuseum, Amsterdam. The artist, with her cellphone camera, re-recorded the archival footage and produced a new replica. She then displayed the video recording on computer screens in several places, from the corners of the city of Rotterdam to the original location of the footage, namely the teak forest on the island of Java.

The act of replication brings out today’s technological layers of memory. Widasari’s video work, indirectly, changes the medium of moving image technology and its narrative. A film, which was originally the result of a chemical procession, turned into a moving image resulting from a collection of millions of pixels. Memories of the cruelty of civilization also turn into memories of the working layer of the media. The narrative slowly changes. It no longer talks about a colonialist regime that uses modern products, but about a representation regime. In visual arts, the latter is described as a performative technological articulation.

The moving image, after a long journey, does not lose its illusory power. From generation to generation, the medium has become much more refined and closer to daily life. It is developed by continually replicating reality. This deformed reality finally breaks down into layers that form a representation regime. Under the representation regime, moving images increasingly show their character as a myth-form-action agency that shows and pursues the reality of representation that is free to consume and interpret, depending on the knowledge of the subject and the object.

In the eight films in this curatorial, we see the trajectory of moving image technology that emphasizes the memory of the history of power of Western civilization, the chain of consumption, contemporary poetry, visual performative language, and enlargement

actions that return visual representations to digital context. This trajectory shows a representation regime that is always tied to the cruel history of civilization — that the representation consumed is a form of worship that occurs in the subject-object relationship. Subjects and objects are always encouraged by the regime of representation to relate to the ways of “between”, “relating”, and “use”. Relative positioning. The correlation can be destructive or compromising, depending on the location in which a narrative and memories are born and developed.

vulture

Country of production Canada Language English Subtitles English 57 min, stereo, 16 mm processed to digital, color & B/W, 2019

Penegasan ambiguitas medium seni; gambar diam yang digerakkan atau gambar bergerak yang dibekukan. An affirmation to the ambiguity of the art medium; animation of still image or stylization of moving image.

Phillip Hoffman (Canada)

Pingkan Polla

Philip Hoffman (Kitchener-Waterloo, Ontario) menyelesaikan pendidikan formal yang mencakup Diploma Seni Media di Kolese Sheridan dan Sarjana Seni Sastra di Universitas Wilfrid Laurier. Dia tertarik dengan pertanyaan tentang realitas dalam fotografi dan sinema. Saat ini, ia mengajar di Departemen Seni Sinema dan Media, Universitas York. Philip Hoffman (Kitchener-Waterloo, Ontario) completed formal education which includes a Diploma in Media Arts at Sheridan College and a Bachelor of Arts in Literature at Wilfrid Laurier University. He is intrigued by questions of reality in photography and cinema. Currently, he teaches in the Cinema and Media Arts Department, York University.

ILLUSIVE ECHOES

Country of production USA Language Subtitles 10 min, stereo, HD, color, 2019

Kerja teknologis yang memproduksi dan mereplikasi gema-gema warna sebagai perpanjangan mata untuk melihat lapisanlapisan visual yang tak tercapai oleh mata. Technological work that produces and replicates color echoes as an extension of the eye to see visual layers that the eye cannot reach.

Zlatko Ćosić (USA)

Pingkan Polla

Zlatko Ćosić (Banja Luka, Yugoslavia) adalah seniman video yang bekerja di berbagai media, termasuk filem pendek, instalasi video, proyeksi teater, dan pertunjukan audio-visual langsung. Karya-karyanya berkaitan dengan masalah identitas, imigrasi, dan kompleksitas hidup di lingkungan budaya yang asing. Karyanya telah dipamerkan di berbagai negara. Zlatko Ćosić (Banja Luka, Yugoslavia) is a video artist who works in various media, including short films, video installations, theater projections, and live audio-visual performances. His works relate to issues of identity, immigration, and the complexities of living in unfamiliar cultural environments. His works have been shown in numerous countries.

TORANJ (THE TOWER)

Country of production Croatia Language Subtitles 11 min 49 sec, stereo, HD, color, 2019

Trayektori digital yang mengalami pembesaran berkali-kali untuk mengembalikan representasi visual kepada khitah digital, yaitu piksel. A digital trajectory that has been enlarged many times to return the visual representation to be the digital essence, that is pixel.

Silvestar Kolbas (Croatia)

Pingkan Polla

Silvestar Kolbas (1956, Kroasia) adalah seorang sinematografer, fotografer, dan sutradara filem. Ia lulus dari jurusan Film dan Kamera TV pada tahun 1982 dari Akademi Seni Drama di Zagreb. Kini ia pun mengajar di sekolah yang sama. Karya-karyanya juga kerap merefleksikan sifat media visual. Silvestar Kolbas (1956, Croatia) is a cinematographer, photographer, and film director. He graduated in Film and TV Camera in 1982 from the Academy of Dramatic Art in Zagreb. Today he is a full-time professor at the same school too. His works often also reflect on the nature of visual media.

MURMUR

Country of production Belgium Language Subtitles 10 min 21 sec, stereo, HD, B/W, 2019

Puisi Kedatangan Kereta Lumiere kontemporer. Poetry of the contemporary Lumiere’s Arrival of The Train.

Jan Locus, Stijn Demeulenaere (Belgium)

Pingkan Polla

Jan Locus tinggal di Brussel. Proyek jangka Panjang yang dikerjakan fotografer dan pembuat file mini mempelajari kompleksitas masalah sosial-politik di dunia. Buku fotografinya antara lain Mongolia, De Bewegende Stad, dan Devoted. Karya-karyanya telah banyak ditampilkan dalam berbagai festival internasional.

Stijn Demeulenaere adalah sound artist dan field recordist. Ia membuat karya-karya instalasi, soundscape, performans, dan membuat desain suara untuk tari dan teater. Stijn meneliti hubungan antara identitas, suara, dan aksi mendengarkan. Karyanya ditampilkan di berbagai festival internasioal serta menerima berbagai penghargaan. Jan Locus lives in Brussels. The longterm projects of the photographer and filmmaker Jan Locus study the complexity of worldwide, socio-political issues. His photography books include Mongolia, De Bewegende Stad, and Devoted. His works have been shown in numerous international festivals.

Stijn Demeulenaere is a sound artist and field recordist. He creates installations, soundscapes, performances, and does sound design for dance and theatre. Stijn researches the relationship between identity, sound and listening. His work was shown at numerous international festivals as well as received awards.

LIVESTOCK

Country of production Canada Language English Subtitles 12 min, stereo, 16 mm processed to digital, B/W, 2018

Ingatan sejarah modern dan kekuasaan yang bermuara di penggorengan. Historical memory of modernity and power boils down on the frying pan.

Derek Jenkins (Canada)

Pingkan Polla

Derek Jenkins adalah motion picture photographer dan teknisi lab yang tinggal di Hamilton, ON. Praktiknya berkenan dengan kreasi langsung tangan, bersifat personal, dan dokumenter, dengan minat pada isu pekerja, ekologi, dan reproduksi sosial. Filem-filemnya telah diputar dan dipamerkan di berbagai festival. Saat ini, dia bekerja di Niagara Custom Lab. Derek Jenkins is a motion picture photographer and lab technician based in Hamilton, ON. His practice is handmade, personal, and documentary, with an interest in labour, ecology, and social reproduction. His films have been screened and exhibited in many festivals. Currently, he works at Niagara Custom Lab.

BETWEEN RELATING AND USE

Country of production Argentina & USA Language English Subtitles 9 min, stereo, 16 mm processed to digital, color, 2018

Ingatan ambigu relasi fetisisme disamakan dengan narasi kolonialisme. Equating the ambiguous memory of fetishism relation with the narrative of colonialism.

Nazlı Dinçel (USA)

Pingkan Polla

Nazlı Dinçel tinggal di Milwaukee, WI. Di kota tersebut, ia pun kini membangun laboratorium filem yang dikelola seniman. Dia memperoleh gelar MFA dalam pembuatan filem dari UW-Milwaukee. Dia baru-baru ini menjadi rekan Institut Radcliffe 2019/2020 untuk studi lanjutan di Universitas Harvard, dan menjadi salah seoarang seniman penerima Mary L. Nohl Fund Fellowship tahun 2019. Nazlı Dinçel resides in Milwaukee, WI, where she is currently building an artist-run film laboratory. She obtained her MFA in filmmaking from UW-Milwaukee. She was recently a 2019/2020 Radcliffe Institute fellow for advanced study at Harvard University, and a 2019 Emerging Artist recipient of the Mary L. Nohl Fund Fellowship.