Austrian Art Films Below The Equator by Lukas Birk

Forewords

AUSTRIAN ART FILMS BELOW THE EQUATOR 03.12.2011-14.11.2011 FILM SENI AUSTRIA DIBAWAH KHATULISTIWA 03.12.2011-14.11.2011

Austrian Art Films below the Equator.

Content

The Austro Indonesian Arts Program in collaboration with the Austrian Embassy Jakarta, the Austrian Consulate Yogyakarta and Jogja Gallery will bring you 10 short films and 9 feature films from Austria. The films brought from above and screened below the equator intend to form further bridges between Austria and Indonesia. The equator, which in linguistic essence means equalizer, thus forms a platform to bring certain issues and discussions closer together and initiate a dialog about topics that often separate countries below and above this geographic line. These might be economic, social or cultural matters, often created by the distance between countries and distorted views of over exoticism from one part and over glorification from the other.

Forewords

Lukas Birk Klaus Wรถlfer KRT Sugiharto S. Dirjohandoyo Dyah Soemarno

3 5 6 7

Screening schedule

Films / Times Locations

8 9

Short films 1984-2011

Karel Dudesek

10 12

Four shorts from the factory

Nico Mesterharm & Team

Gerkan, Scheeren, Speer

Johann Neumeister

Solcialism failed, capitalism is bankrupt. What comes next?

Oliver Ressler

The PPR* Experience 3rabiet elsa3ada Medicare

Sylvia Winkler & Stephan Kรถperl

Feature films What would it mean to win?

Zanny Begg & Oliver Ressler

18 20

Kafkanistan

Lukas Birk

Oceanul Mare

Katharina Copony

Inside America

Barbara Eder & Constanze Schumann

Every seventh person

Elke Groen & Ina Ivanceanu

Abendland Our Daily Bread

Nikolaus Geyrhalter Nikolaus Geyrhalter

25 26

Follow Me

Johannes Hammel

Los Refrigerators

Thomas Lehner

Directors CV

About AIAP

Credits

A key interest for AIAP is to see if processed topics relevant to an Austrian audience may just as well be engaging to an Indonesian audience. The explorations in these 19 films and their economic, sociopolitical and ethnographic subjects are multi-cultural, multi-linguistic and to some extent bold in their form of communication. The short films span from issues such as corporate identity projected through advertisement and product placement (Karel Dudesek, 1984-2011) or workers circumstances in factories in Cambodia (Meta House, Four Shorts from the Factory)and the collapse of ideals and economic philosophies (Oliver Ressler, Socialism Failed, Capitalism is Bankrupt. What Comes Next?)to interpretative renditions of a society on the fast move (Johann Neumeister, Gerkan, Scheeren, Speer). Or they are fragments of experi-

ence drawn from performative interventions in countries such as India, China or Egypt (3 short films by Sylvia Winkler & Stephan Kรถperl). The feature films move from scenes in Afghanistan showing distorted Western views of tourists edited in a nonlinear language (Lukas Birk, Kafkanistan) to counter-globalization demonstrations in Europe combining interviews with documentary footage (Oliver Ressler, What Would It Mean to Win?) and stories of necessities such as a Chinese refrigerator on the island of Cuba (Thomas Lehner, Los Refrigeradores); from immigrant life in Rumania with accounts of cultural displacement (Katharina Copony, Oceanul Mare) to contrasting realities of highschool girls in the United States with their own personal struggle (Barbara Eder & Constanze Schumann, Inside America). But dreams and hopes derive out of every personal struggle, like in the villages of rural China (Elke Groen & Ina Ivanceanu, Every Seventh Person). One of the directors, who features with two films (Nikolaus Geyrhalter, talks with his saddle film style about issues such as the current state of food production in Europe, with its automation and standardization (Our Daily Bread) as well as about work or life as such at night (Abendland). Both films give access into a reality, a behind the scene which awakes curiosity and questions. Another film explores family dramas that can be fragmented and distorted, filled with anxieties and angst (Johannes Hammel, Follow me). Whichever reality, exotic and strange or native and usual, may appeal to each individual in the audience, these 19 films with their individual topics and 3

renditions give a sense of what Austrian film makers are able to transform and edit with their artistic sensitivity. Lukas Birk, AIAP co-founder

Film-Film Seni Austria: Dibawah Garis Khatulistiwa Austro Indonesian Arts Program bekerjasama dengan kedutaan Austria di Jakarta, konsulat Austria di Yogyakarta dan Jogja Gallery menghadirkan ke hadapan anda 10 film pendek dan 9 film panjang dari Austria. Sejumlah film yang dibawa dari atas garis khatulistiwa dan ditayangkan di wilayah di bawahnya bertujuan membangun lebih jauh jembatan antara Austria dan Indonesia. Equator yang secara linguistik juga dapat berarti penyamarata akhirnya membentuk panggung yang membawa sejumlah isu dan diskusi lebih dekat serta menginisiasi dialog dengan topik yang seringkali memisahkan negara-negara di atas dan di bawah garis geografis ini. Topik tersebut bisa jadi permasalahan ekonomi, sosial atau kebudayaan yang terbentuk akibat jarak antara negara-negara tersebut dan pandangan yang bias eksotisisme berlebihan dari satu pihak dan over glorifikasi dari pihak yang lain. Ketertarikan utama bagi AIAP adalah untuk melihat apakah topik yang relevan untuk pemirsa Austria juga sama akrabnya bagi pemirsa di Indonesia. Eksplorasi yang ada dalam kesembilanbelas film ini dan permasalahan ekonomi, sosial politik, serta etnografisnya bersifat multikultural, multilinguistik dan sampai pada tahap ter4

tentu sangat berani dalam bentuk komunikasi mereka. Sejumlah film pendek tersebut berbicara mengenai berbagai isu semisal identitas perusahaan yang diproyeksikan lewat iklan dan penempatan produk (Karel Dudesek 1984-2011) atau keadaan para buruh di berbagai pabrik di Kamboja (Meta House, For Shorts from the Factory). Kolapsnya tujuan-tujuan ideal dan filsafat ekonomi (Oliver Ressler, Socialism Failed, Capitalism Bankrupt, What Come Next?). Usaha penafsiran tentang sebuah masyarakat dalam jalur cepat (Johan Neumeister, Gerkan, Scheereen, Speer) atau potongan dari pengalaman tentang intervensi performatif di negara-negara seperti India, China atau Mesir (tiga film pendek dari Sylvia Winkler dan Stepan Koperl). Film panjangnya bergerak dari kejadian di Afganistan mengenai pandangan bias seorang turis yang diedit dalam bahasa non-linear (Lukas Birk, Kafkanistan) menuju ke demonstrasi anti globalisasi di Eropa yang menggabungkan wawancara dengan rekaman gambar dokumenter (Oliver Wessler, What Would It Mean To Win?) dan cerita mengenai kebutuhan hidup semisal kulkas Cina di sebuah pulau di Kuba (Thomas Lehner, Lost Refrigerators). Kehidupan imigran di Rumania dengan pembahasan mengenai kesalah-tempatan budaya (Katharina Copony, Oceanul Mare), membandingkan realitas kehidupan anak SMA di Amerika dengan permasalahan pribadi mereka (Barbara Eder&Constanze Schumann, Inside America). Namun dari setiap usaha mengatasi permasalahan pribadi muncul harapan dan mimpi seperti yang terjadi di desa-desa Cina pinggiran (Elke Groen&Ina Evanceanu, Every Seventh Person). Satu dari para sutradara yang membuat dua film panjang (Nikolaus

Geyrhalter) berbicara dengan gaya saddle film mengenai isu semacam keadaan terkini produksi makanan di Eropa dengan otomatisasi dan standardisasinya (Our Daily Bread) serta mengenai hidup seperti tersebut di malam hari (Abendland). Kedua film tersebut memberi jalan ke realitas, sesuatu yang ada di belakang layar yang membangkitkan rasa ingin tahu dan pertanyaan. Satu film yang lain mengeksplorasi drama keluarga yang bisa terfragmentasi dan terdistorsi serta dipenuhi kecemasan dan kemarahan (Johannes Hammel, Follow Me). Tak masalah yang mana saja dari realitas eksotik, aneh, pribumi dan biasa yang menarik bagi pemirsa, kesembilanbelas film ini dengan topik individu dan usahanya telah memberikan gambaran mengenai pembuat film Austria yang bertransformasi dan mengedit dengan kemampuan estetisnya. Lukas Birk, pendiri AIAP

Foreword Austrian Embassy Jakarta Austria’s ties with Yogyakarta are manifold. Among those, university links have been the longest and steadiest, in particular towards Universitas Gadjah Mada. Recently, artists from Austria have taken the initiative and teamed up with the Yogyakarta art world to establish the SewonArtSpace and the Austro Indonesian Arts Programme (AIAP).

support the “Austrian Art Movies Below the Equator” – film show, which is embedded in the 2011 Yogyakarta Biennale. It features an exciting selection of movies by some of the most interesting Austrian film-makers, including the highly-awarded “Our Daily Bread”. An artist-in-residence programme for Austrians – and indeed Europeans - in Yogyakarta will start operating very soon. Conversely, an artist from Yogyakarta is already working in Vienna, upon invitation by the Austrian Federal Ministry of Education, Art and Culture. Art and science are of universal relevance. Yogyakarta, its academic and arts community, bring them to blossom. Art and science should not, by definition, know geographical, or any other borders. The many fast-developing connections between Austria and Indonesia – and Yogyakarta in particular – are an expression of such limitless links and friendships. May they flourish and grow! Klaus Wölfer Austrian Ambassador to Indonesia

Kata pengantar Kedutaan Austria Jakarta

Hubungan Austria dengan Yogyakarta ada bermacam-macam. Diantara yang beragam tersebut, koneksi universitas merupakan yang paling stabil dan lama, terutama yang berkaitan dengan Universitas Gadjah Mada. Belakangan, State institutions in Austria, the berbagai seniman Austria telah menEmbassy in Jakarta and the newly estab- gambil inisiatif dan bekerjasama dengan lished Austrian Honorary Consul, fully dunia seni Yogyakarta untuk mendirikan 5

SewonArtSpace dan AustroIndonesianArtProgram (AIAP). Institusi pemerintah di Austria, kedutaan Austria di Jakarta dan Konsul Kehormatan Austria yang baru saja diresmikan, mendukung penuh pemutaran film “Film-Film Seni Austria: Di bawah Garis Katulistiwa” yang terjalin bersama Yogyakarta Biennale 2011. Pemutaran film ini menyajikan seleksi dari berbagai film buatan sutradara-sutradara Austria yang paling menarik perhatian, termasuk film yang mendulang perhargaan “Our Daily Bread”. Sebuah program residensi bagi seniman Austria—dan tentu saja yang dari Eropa— untuk tinggal di Yogyakarta akan segera dilaksanakan. Sebaliknya, seorang seniman dari Yogyakarta telah berada dan berkreasi di Austria lewat undangan kementerian federal Austria untuk Seni, Pendidikan dan Kebudayaan (Austrian Federal Ministry of Education, Art and Culture). Seni dan ilmu pengetahuan mempunyai relevansi universal. Yogyakarta, lewat komunitas akademis dan seni, membuat mereka mekar. Seni dan ilmu pengetahuan seharusnya, berdasar pengertiannya sendiri, tidak mengenal batas geografi atau batas-batas yang lain. Banyaknya koneksi antara Austria dan Indonesia—dan khususnya Yogyakarta—yang berkembang pesat adalah ekspresi dari betapa tak terbatasnya hubungan dan persahabatan tersebut. Mekar dan tumbuhlah mereka! Klaus Wölfer Duta besar Austria untuk Indonesia. 6

Kata Pengantar Jogja Gallery Untuk kesekian kalinya Jogja Gallery mendapat kehormatan bekerjasama dengan seniman mancanegara, kali ini dengan seniman Austria yang tergabung dalam SewonArtSpace, untuk berpartisipasi di Yogyakarta Biennale 2011/2012. Berjudul “Austrian Art Movies Below the Equator”, suatu karya seni, dalam hal ini filem, telah mampu mengungkapkan hampir seluruh aspek kehidupan: masalah ketidakberdayaan - harapan - kebahagiaan dalam kehidupan seharihari, masalah lingkungan, masalah bisnis, masalah politik, masalah globalisasi dan lain-lain. Dialog (atau bahkan tanpa dialog), bahasa dan teks dengan bahasa yang bukan Bahasa Indonesia tidak lagi begitu penting bagi penonton Indonesia manakala isi ceritera mampu memberikan kebebasan berimaginasi bagi pemirsa. Selamat menikmati filem karya seniman Austria. Jogja Gallery KRT Sugiharto S. Dirjohandoyo Direktur Utama

Foreword from Jogja Gallery It is an honor for us, Jogja Gallery, to collaborate with SewonArtSpace, a group of Austrian artists, in joining the Yogyakarta Biennale 2011/2012. SewonArtSpace presents film art works entitle “Austrian Art Movies Below the Equator”, picturing different aspects of life including day to day life, environment, business, politic, globalization etc. The non Indonesian languange being used

in dialog and texts is not an issue, even without dialog, since the movies are able to give a liberty to the viewers in interpreting the stories. Enjoy the art works of Austrian artists. Jogja Gallery KRT Sugiharto S. Dirjohandoyo President Director

Kata Pengantar SewonArtSpace art film atau film seni sebagai sebuah penanda kreatifitas di luar film-film yang berada dalam arus utama pasar seperti film hollywood atau bollywood telah cukup dikenal oleh publik seni yogyakarta. kita pernah dibuat bangga dengan opera jawa garapan Garin Nugroho yang menyedot perhatian masyarakat penikmat film secara internasional. dari sana kita mengenal genre lain dunia perfilman yang lebih eksentrik, idealis, cutting-edge, dan jauh dari tuntutan komersil. dalam kesempatan kali ini berbagai pihak yang mewakili dua negara, Austria dan Indonesia, bekerjasama untuk menampilkan kekayaan intelektual, kemanusiaan dan kreatifitas manusia melalui festifal film austria. 10 film pendek dan 9 film panjang akan kami tayangkan di dua art space (Jogja Galeri dan SewonArtSpace) selama sepekan. saya menyebut ini sebagai sebuah kesempatan, kesempatan melihat dan memperoleh pengetahuan baru melalui karya film. dimana kita dapat melompati benua, melompati bahasa, melompati budaya untuk saling bersapa dan men-

genal dalam tatanan masyarakat universal. selamat menikmati. Dyah Soemarno direktur SewonArtSpace

Foreword SewonArtSpace Art film as a trademark of creativities outside mainstream movies produced for market’s demand like Hollywood or Bollywood has been well recognized by Jogjakarta’s art scene. We once have been made proud by Opera Jawa, a film directed by Garin Nugroho that drew attention from international audience. Through it we were introduced to another genre in the world of cinema which is more eccentric, idealistic, cutting edge and far from commercial demand. In this fine occasion, several parties representing the two countries, Austria and Indonesia, cooperate to present the richness of both countries’ intellectual, humanity, and human creativity through Austrian Art Film Festival. 10 short films and 9 feature films will be screened at two art spaces (Jogja Galeri and SewonArtSpace) in one full week. I dub this as a rare chance to see and gain knowledge from films as we cross continents, transcend languages and culture to greet each others and universal humanity. Happy watching, Dyah Soemarno Director SewonArtSpace

Screening schedule / Jadwal Pemutaran Film Date

Locations / Lokasi

Time

Title

Location

Sat, 3rd 15.00 Sat, 3rd 16.00

The PPR* Experience 3rabiet elsa3ada Medicare

S S S

Abendland

Sun, 4th

Oceanul Mare

Tue, 6th 16.00

Socialism failed, capitalism is bankrupt. What comes next?

Tue, 6th

16.30

Inside America

Wed, 7th

16.00

Four shorts from the factories

Wed, 7th

16.30

Every seventh person

Thur, 8th 15.00

Los refrigeratores

16.00

Type

Thur, 8th 17.00

Our daily bread

Fri, 9th

16.00

What would it mean to win?

Fri, 9th

17.00

Gerkan, Scheeren, Speer

Tue, 13th 16.00

Kafkanistan - JG tourism to Afghanistan

Tue, 13th 17.00

1984-2011

Wed, 14th 16.00

Follow me

F=Feature Film

SAS=SewonArtSpace JG=JogjaGallery

S= Short Film

Jogja Gallery

Jalan Pekapalan No 7, Alun-alun Utara, Yogyakarta

SewonArtSpace

Pelem Sewu, RT 06, Panguanharjo, Sewon, Bantul, Yogyakarta

Short Films / Film Pendek 10

1984-2011

Year: 2011 Director: Karel Dudesek Lenght: 4.30 minutes Language: no dialog Subtitles: -

Tahun: 2011 Direktur: Karel Dudesek Waktu: 4.30 minutes Bahasa: Tanpa Dialog

Corporations publish their identity movies, to make customers understand how they should see the corporate brands and identify them selves with the corporate culture. Often during the growth of an company, identity gets out of control and turns the opposite way of previous advertisement. This video shows like Apple’s former corporate culture promo from 1984 produced in the USA, turned into a self fulfilling prophesy in 2011 in Hong Kong. Into a uniformed army of consumers.

Banyak perusahaan mempublikasikan filem agar konsumen dan pegawainya mengerti bagaimana mereka memahami identitas dan kultur perusahaan. Seringkali dalam masa perkembangan suatu perusahaan, identitas menjadi diluar kontrol dan bertolak belakang dengan strategi pemasaran. Video ini menunjukkan bagaimana promosi kultur perusahaan Apple yang dibuat di Amerika tahun 1984 berubah menjadi gambaran diri di Hong Kong di tahun 2011. Dengan memakai seragam tentara untuk merayakan pembukaan toko baru, pegawai menunjukkan diri sebagai selibritas yang mendapatkan pekerjaan dan berada di pusat daerah perbelanjaan.

FOUR SHORTS FROM THE FACTORIES

Year: 2010 Director: Nico Mesterharm & Team Lenght: 4 x 8 minutes Language: Khmer Subtitles: English

Tahun: 2010 Direktur: Nico Mesterharm & Team Waktu: 4 x 8 minutes Bahasa: Kamboja Teks: Inggris

FOUR SHORTS FROM THE FACTORIES look at the economic downturn viewed through the prism of workers, a female Cambodian manager, union representatives, entrepreneurs and small businesses surrounding the factories.

FOUR SHORTS FROM THE FACTORIES mencoba melihat kehancuran perekonomian dari kacamata seorang pekerja, seorang manajer perempuan Kamboja, perwakilan buruh, enterprenur dan pedagang kecil di sekitar pabrik.

The films A DAY AT THE FACTORY, A DAY AROUND THE FACTORIES, A DAY OFF FROM THE FACTORY and A WEEKEND WITH THE MANAGER have been produced by international filmmakers and Cambodian media students under the roof of the “Media Education and Training Academy” (M.E.T.A.), supported by Better Factories Cambodia/ILO and Friedrich-Ebert-Foundation (FES) Singapore.

Filem-filem: A DAY AT THE FACTORY, A DAY AROUND THE FACTORIES, A DAY OFF FROM THE FACTORY dan A WEEKEND WITH THE MANAGER diproduksi oleh pembuat filem internasional dan mahasiswa bidang media dari Kamboja dibawah naungan “Media Education and Training Academy” (M.E.T.A.), didukung oleh Better Factories Cambodia/ILO dan Friedrich-Ebert-Foundation (FES) Singapore. 13

GERKAN, SCHEEREN, SPEER

Year: 2009 Director: Johann Neumeister Lenght: 20 minutes Language: Chinese Subtitles: English

Tahun: 2009 Direktur: Johann Neumeister Waktu: 20 minutes Bahasa: Cina Teks: Inggris

Johann Neumeister explores the relationship between contemporary architecture and society in today’s China. At first glance the camera follows two young protagonists, Kate and Ricky, moving through the exhilarating scenery of Beijing, accompanied by a voice- over - Hun Fang reading the short story “Face People“ by the artist Chu Yun - and electronic music by the composer Wang Fan. The film is structured in three parts; the first and shortest one is showing only Kate in the morning, the second one Kate as well as Ricky in the afternoon, while the third and longest part only Ricky at night. The protagonists never meet or interact which each other and appear mute; they don’t speak. By contrast the non-chronological, repetitive narration of some sort of uncanny love story is being read to the viewer. The overall coherence between text and image remains mysterious and open for interpretation.

Johann Neumeister mengeksplorasi hubungan antara arsitek kontemporer dan masyarakat Cina saat ini. Sorotan pertama kamera ditujukan ke dua anak muda protagonists, Kate dan Ricky, yang sedang berjalan menikmati keindahan pemandangan kota Bejing, dengan latar belakang suara Hun Fang yang membaca ceritera pendek “Face People” karangan Chu Yun dan alunan musik elekton hasil komposisi Wang Fan. Ceritera filem ini dibagi menjadi tiga bagian: bagian pertama (paling pendek) menceriterakan tentang Kate di pagi hari, bagian kedua menceriterakan Kate dan Ricky di siang hari, dan bagian ketiga (paling panjang) menceriterakan tentang Ricky di malam hari. Kedua protagonists tersebut tidak pernah bertemu, berbicara atau berhubungan satu sama lainnya dan tinggal saling berjauhan. Secara tidak runtut, terdapat narasi ceritera cinta yang dibacakan berulangkali. Hubungan antara teks dan gambar tetap menjadi misteri dan penonton diberi kebebasan untuk berinterpretasi.

SOCIALISM FAILED, CAPITALISM IS SOCIALISM FAILED, CAPITALISM IS BANKRUPT. WHAT COMES NEXT? BANKRUPT. WHAT COMES NEXT? Year: 2010 Director: Oliver Ressler Lenght: 19 minutes Language: English & German Subtitles: English

Tahun: 2010 Direktur: Oliver Ressler Waktu: 19 minutes Bahasa: Inggris & Jerman Teks: Inggris

Ressler’s recent film “Socialism Failed, Capitalism is Bankrupt. What comes Next?” focuses on the political and economic situation in the Republic of Armenia, one of the successor states of the Soviet Union. The film was recorded in summer 2010 in Yerevan’s largest bazaar, called “Bangladesh”. Every day more than 1000 people try to survive as traders in the “Bangladesh” bazaar, where an average vendor does not earn more than 100 to 250 Euros per month. In the film, the market’s traders talk about their struggles to survive during crises in a post-socialist state that closed most Soviet-era factories and dissolved social safety nets. The market’s traders, primarily former factory-workers, describe how their living conditions worsened after the end of the Soviet Union; they speak about their hopes and expectations for social change.

Filem terbaru Ressler berjudul “Socialism Failed, Capitalism is Bankrupt. What comes Next?” menceriterakan situasi politik dan ekonomi di Republik Armenia, salah satu negara pecahan Soviet. Filem ini dibuat pada musim panas tahun 2010 di suatu basar terbesar di Yerevan yang dinamakan “Bangladesh”. Setiap hari lebih dari 1000 pedagang berjualan di basar “Bangladesh” dimana setiap pedagang hanya mampu berjualan sekitar 100 – 250 Euro. Dalam filem ini pedagang pasar membicarakan perjuangan hidup meraka saat terjadi krisis setelah menjadi negara sendiri (post-socialist) karena ditutupnya hampir semua pabrik Soviet dan dicabutnya bantuan jaring pengaman sosial. Pedagang pasar, terutama bekas pegawai pabrik, menceriterakan kehidupan mereka yang lebih jelek setelah bubarnya Uni Soviet; mereka berbicara mengenai harapan untuk perubahan sosial. 15

3 Short Films by Sylvia Winkler & Stephan Köperl

3 filem pendeks oleh Sylvia Winkler & Stephan Köperl

3rabiet elsa3ada

With our “3rabiet elsa3ada” (happy car) that we built according to Egyptian pick up design we drive into different parts of Cairo and ask people for a sentence beginning with the words: “I am happy because...”

Dengan “3rabiet elsa3ada” (happy car) yang dibangun berdasarkan model pikep di Mesir kami menyusuri pelosok Kairo dan meminta masyarakat untuk membuat pernyataan dimulai dengan “saya bahagia karena ...”

MEDICARE

Along the roads around a village in SouthWest China we find old medicine boxes. From the names of the medicaments we write a song and perform it in different pharmacies in the nearby city of Lijiang.

Di sepanjang jalan pedesaan di Cina Tenggara kami menemukan kotak-kotak obat tua. Dari nama-nama medicaments kami menulis sebuah lagu dan mempertunjukkan di apotikapotik di sekitar kota Lijiang.

Length: 5 min

THE PPR* EXPERIENCE

Length: 5:45min

Panjang: 5:45 menit

In our PPR, the passenger propelled rickshaw, the hierarchy of passenger/puller is transformed into a temporary collaborative unit where physical power and logistical knowledge are shared to bring things forward. In the different neighborhoods of New Delhi we engage the passers-by in a breathtaking ride to fuel the dream of a post-oil society.

Di dalam PPR, penumpang mengayuh becak, tugas pengayuh becak dan penumpang ditransformasi dalam suatu kerjasama dimana kekuatan fisik dan pengetahuan logistik dikombinasikan agar becak dapat berjalan. Di New Delhi, kami melibatkan pejalan kaki dalam suatu mimpi perjalanan masyarakat paska bahan bakar minyak.

Length: 3 min

Panjang: 5 menit

Panjang: 3 menit

Feature Films / Film Panjang 18

WHAT WOULD IT MEAN TO WIN?

Year: 2008 Director: Zanny Begg & Oliver Ressler Lenght: 41 minutes Language: English Subtitles: German

Tahun: 2008 Direktur: Zanny Begg & Oliver Ressler Waktu: 41 minutes Bahasa: Inggris Teks: Jerman

WHAT WOULD IT MEAN TO WIN? was filmed on the blockades at the G8 summit in Heiligendamm, Germany in June 2007. In their first collaborative film Zanny Begg and Oliver Ressler focus on the current state of the counter-globalization movement in a project which grows out of both artists’ preoccupation with globalization and its discontents. The film, which combines documentary footage, interviews, and animation sequences, is structured around three questions pertinent to the movement: Who are we? What is our power? What would it mean to win?

WHAT WOULD IT MEAN TO WIN? dibuat pada saat terjadi blokade pada pertemuan tinggi G8 di Heiligendamm, Jerman di bulan Juni 2007. Dalam filem bersamanya, Zanny Begg dan Oliver Ressler memusatkan perhatian kepada situasi terkini dalam gerakan anti globalisasi dalam suatu proyek yang berkembang dimana artis terokupasi dalam globalisasi dan ketersingkiran. Filem ini merupakan gabungan antara filem dokumenter, wawancara, dan animasi yang disusun di sekitar tiga pertanyaan tentang gerakan ini yaitu: Siapakah kita? Apakah kekuatan kita? Bagaimana caranya supaya menang?

KAFKANISTAN TOURISM TO AFGHANISTAN

Year: 2009 Director: Lukas Birk Lenght: 52 minutes Language: English & German Subtitles: English & German

Tahun: 2009 Direktur: Lukas Birk Waktu: 52 minutes Bahasa: Inggris & Jerman Teks: Inggris & Jerman

Kafkanistan – is a world created by Austrian multimedia artist Lukas Birk and Sean Foley. It explores present day tourism to conflict zones in Afghanistan and neighboring countries. The name Kafkanistan was inspired by Kafka’s The Castle, a book whose protagonist journeys through a world unknown to him, full of rumors and misleading stories. He’s never sure whom to trust or what to believe in.

Kafkanistan adalah sebuah dunia yang diciptakan oleh artis multimedia Austria: Lukas Birk dan Sean Foley. Filem ini mengekplorasi kunjungan wisata ke daerah konflik Afghanistan dan negara-negara sekitarnya. Nama Kafkanistan terinspirasi dari buku Kafka berjudul “The Castle”, sebuah buku perjalanan protagonist melalui sebuah dunia yang tidak diketahuinya serta penuh dengan gosip dan berita yang menyesatkan. Dia tidak tahu pasti siapa yang dapat dipercaya atau bagaimana cara mempercayainya.

OCEANUL MARE

INSIDE AMERICA

Year: 2009 Director: Katharina Copony Lenght: 78 minutes Language: Chinese, Rumanian Subtitles: Chinese and English

Tahun: 2008 Direktur: Katharina Copony Waktu: 78 minutes Bahasa: Cina, Rumania Teks: Cina dan Inggris

Year: 2010 Director: Barbara Eder & Constanze Schumann Lenght: 107 minutes Language: English, Spanish Subtitles: English

Tahun: 2010 Direktur: Barbara Eder & Constanze Schumann Waktu: 107 minutes Bahasa: Inggris & Spanyol Teks: Inggris

“The rule of the ocean is that big fish eat little fish! The phrase ‘business ocean’ implies that it’s tough and really hard! If you don’t pay attention, you’ll be eaten and will drown! If you’re successful, you’ll glide across the ocean like a triumphant sailboat!” The film center’s on three Chinese people in Bucharest, who migrated there in the early 1990s. It follows their paths through Romania’s metropolis and traces their varying connections with Europe’s largest Chinese market on the periphery of the city. Episode by episode, it accompanies the central characters through the striking contrasts of their daily routines and business milieus, telling a story of what it is like to be foreign and of cultural displacement. Ultimately, the story underscores the challenge to immerse oneself into the unknown while continually reinventing oneself in the process.

“The rule of the ocean is that big fish eat little fish! The phrase ‘business ocean’ implies that it’s tough and really hard! If you don’t pay attention, you’ll be eaten and will drown! If you’re successful, you’ll glide across the ocean like a triumphant sailboat!” (“Hukum di lautan adalah ikan besar memangsa ikan kecil! Kata “business ocean” menggambarkan bisnis adalah keras! Jika kita tidak serius, kita akan dimakan atau tersapu! Jika berhasil, kita akan meluncur menyeberangi lautan seperti laiknya keberhasilan perahu!”). Filem ini memusatkan perhatiannya kepada tiga orang Cina yang berpindah ke Bucharest di tahun 1990an. Mereka menyelusuri jalanan metropolitan di Romania dan mencari koneksi dengan pasar Cina terbesar disekitar kota di Eropa. Secara umum ceritera filem ini berkaitan dengan tantangan untuk menyesuaikan diri dengan keterasingan dan secara terus menerus menemukan dirinya sendiri.

INSIDE AMERICA is a portrait of six High School kids in a small border town in Texas. The American flag is proudly raised at school every morning and the dream of prosperity and freedom is invested in their mind, but the reality is tough; drugs, violence and security at the school gate are a part of the daily routine. The six teenagers fight for their future in between ROTC Class and Home Economics, somehow managing to retain their vitality and dreams.

INSIDE AMERICA adalah sebuah potret dari enam orang siswa SMA di pinggiran kota di Texas. Setiap pagi bendera Amerika dikibarkan di sekolah dengan mimpi kemakmuran dan kebebasan yang ditanamkan kepada mereka. Akan tetapi kenyataannya berlainan; narkoba, kekerasan dan keamanan di gerbang sekolah setiap hari terjadi. Keenam anak tersebut berjuang untuk masa depannya antara kelas ROTC dan Home Economics, sekedar untuk mengingatkan akan kekuatan dan keinginan mereka.

EVERY SEVENTH PERSON

ABENDLAND

Year: 2006 Director: Elke Groen & Ina Ivanceanu Lenght: 75 minutes Language: Mandarin, Naxi Subtitles: English

Tahun: 2006 Direktur: Elke Groen & Ina Ivanceanu Waktu: 75 minutes Bahasa: Mandarin, Naxi Teks: Inggris

Year: 2010 Director: Nikolaus Geyrhalter Lenght: 88 minutes Language: English, German Subtitles: English

Tahun: 2010 Direktur: Nikolaus Geyrhalter Waktu: 88 minutes Bahasa: Inggris, Jerman Teks: Inggris

Each and every 7th person on earth is living in a Chinese village. The film directors Elke Groen and Ina Ivanceanu have portrayed Chinese life in the 3 different villages- Beisuzha, San Yuan und Jiangjiazhai, between 2002& 2005. During that time interviews with the villagers were accomplished and the everyday life of the villagers was documented with cameras. Not only Elke Groen was filming, but also the villagers were involved in the filming process, shooting short films about their hopes& dreams. The concept of those short films, the cinematographic work and the editing was created by farmers, youths, and factory workers. It is those people who created the Film Every 7th person.

Satu dari 7 manusia di dunia tinggal di desa Cina. Direktur filem, Elke Groen dan Ina Ivanceanu, memotret kehidupan 3 desa di Cina yaitu Beisuzha, San Yuan dan Jiangjiazhai, antara tahun 2002 - 2005. Wawancara dengan masyarakat desa dilakukan dan kehidupan sehari-harinya didokumentasikan dengan kamera. Tidak hanya Elke Groen yang merekam, akan tetapi masyarakan desa dilibatkan dalam pembuatan filem tentang harapan dan mimpi mereka. Konsep dari filem pendek, pekerjaan sinematografi dan penyuntingan dilakukan oleh petani, pemuda dan pekerja pabrik. Boleh dikata filem ini dibuat oleh masyarakat.

Darkness can help us see things more clearly. In Abendland, Nikolaus Geyrhalter undertakes a long associative journey across nighttime Europe. Pulsating service economy and affluent society, the wall of security and exclusion, urban civilization, hedonist Temple of Pleasure, at once inspired and weighed down by history, tradition and high culture. Night work, self-abandon, noise and silence, confusion of tongues, birth, illness, death and desperate attempts to cross the border. Geyrhalterâ&#x20AC;&#x2122;s camera and the congenial editing by Wolfgang Widerhofer create a compelling film essay about one continent and the principle of the West. That`s why this paradise is sealed off by an insurmountable electrified fence. Whoever lives in paradise must be prepared to protect it. A film about Europe in the early 21st century.

Kegelapan dapat membantu kita untuk melihat sesuai dengan lebih jelas. Di filem Abendland, Nikolaus Geyrhalter melakukan perjalanan panjang di waktu malam di Eropa. Kehidupan jasa perekonomian dan masyarakat berkecukupan, dinding pengaman dan eksklusifisme, masyarakat urban, hedonisme tempat-tempat hiburan, suatu saat hilang bersama sejarah, tradisi dan budaya yang tinggi. Kerja malam, pengasingan diri, hiruk pikuk dan ketenangan, kekacauan, kelahiran, penyakit, kematian dan usaha untuk menembus batas negara. Pengambilan gambar oleh Geyrhalter dan pengeditan oleh Wolfgang Widerhofer telah menciptakan suatu filem yang menarik mengenai satu benua serta prinsip-prinsip yang berlaku di negara barat. Oleh karenanya, surga ini dibatasi oleh keniscayaan pagar yang mengungkung. Siapapun yang hidup di surga harus siap untuk menjaganya. Sebuah filem tentang Eropa pada awal abad ke 21.

OUR DAILY BREAD

FOLLOW ME

Year: 2005 Director: Nikolaus Geyrhalter Lenght: 92min Language: no dialog

Tahun: 2005 Direktur: Nikolaus Geyrhalter Waktu: 92 minutes Bahasa: Tanpa Dialog

Year: 2010 Director: Johannes Hammel Lenght: 109min Language: German Subtitles: Chinese

Tahun: 2010 Direktur: Johannes Hammel Waktu: 109 minutes Bahasa: Jerman Teks: Inggris

The film depicts how modern food production companies employ technology to maximize efficiency, consumer safety and profit. It consists mainly of actual working situations without voice-over narration or interviews as the director tries to let viewers form their own opinion on the subject. The names of the companies where the footage was filmed are purposely not shown. The directorâ&#x20AC;&#x2122;s goal is to provide a realistic view on the internal workings of multiple food production companies in our modern society.

Filem ini menceriterakan bagaimana perusahaan produk makanan modern menggunakan teknologi untuk memaksimalkan efisiensi, keselamatan konsumen dan keuntungan. Isi dari filem ini terutama menggambarkan situasi kerja sesungguhnya tanpa narasi atau wawancara untuk memberikan kesempatan kepada penonton membentuk opininya sendiri terhadap isi ceritera. Nama perusahaan sengaja tidak dipertunjukkan. Tujuan dari filem ini adalah memberikan gambaran realistik kondisi kerja dari perusahaan produk makanan dalam masyarakat modern.

A family of four lives on the edge of a city, in an apartment with a view of the port. The youngest son is tyrannized by his religion teacher, while the oldest has a serious accident. The mother is in a constant state of anxiety, stepping out of line again and again. The father simply cannot cope. They are all battered souls. The everyday order and strictness of the family are succeeded by collapse and disintegration. Follow me finds an unusual form to convey this: the radiant black-and-white Cinemascope images are not put together chronologically and the narrative remains fragmented.

Sebuah keluarga yang terdiri dari empat orang tinggal di ujung sebuah kota, di sebuah apartemen dengan pemandangan pelabuhan. Anak laki-laki termuda mengalami tekanan dari guru agamanya, sementara anak laki-laki tertuanya mengalami kecelakaan serius. Ibunya selalu ketakutan dan ayahnya tidak lagi mampu menghadapinya. Mereka semua kelelahan batin. Aturan ketat sehari-hari dalam keluarga dilewati melalui pergulatan dan keterceraiberaian keluarga. Follow me menunjukkan bentuk yang tidak lazim untuk menyatakan keceriaan gambar sinemaskope hitam-putih yang tidak dapat digabung secara runtut dengan narasi yang masih terpotongpotong. Filem ini menggambarkan sebuah drama mengenai satu dari beberapa keluarga yang tidak berbahagia.

A still drama about a broken family. One of many. 26

Director’s curiculum vitae Lukas Birk Lukas Birk born in Bregenz, Austria. Resident in Beijing since 2007.Worked as radio presenter and journalist in Austria and Germany. After extensive travels to India and South East Asia at age 20 he decided to take his photographic experimentations a step further and held his first Solo Show in Austria showing images and collages from his travels. He studied digital art and photography in London where he worked as freelance photographer for prominent publications. His multimedia projects have included documentary work about war zones, experimental animations and films as well as large scale light installations. He has worked as freelance photographer and filmmaker in Europe, the Middle East and East Asia. His in April 2008 published book and film Kafkanistan reflects a three year research on tourism in conflict zones such as Afghanistan and the tribal areas in the Pakistani North Western provinces. This project has been shown in the USA, U.K., Greece, China, Korea and Israel.

Katharina Copony

LOS REFRIGERATORES

Born 26th December 1972, Graz, Austria. Studied media-arts at the University of Applied Arts in Vienna. During the 90ies various exhibitions in Austria and abroad. Since 2001 working as a filmmaker. Lives and works in Berlin and Vienna.

Year: 2008 Director: Thomas Lehner Lenght: 90 min Language: Spanish Subtitles: English

Tahun: 2008 Direktur: Thomas Lehner Waktu: 90 minutes Bahasa: Spanyol Teks: Inggris

Filmography (selection) 2009 “OCEANUL MARE” (HdV/DVCam, 78min) 2006 „IL PALAZZO“ (S16mm/DigiBeta, 45min) 2004 „KANEGRA“ (DV, 50 min) 2001 ”DER WACKELATLAS – SAMMELN UND JAGEN MIT H.C. ARTMANN” (DV CAM, 60min)

Cuba on ice? Naturally it is served in cocktails at the beach bar. But for the island’s residents, keeping things in a cold, solid state is a matter of survival and constitutes a daily struggle. The Chinese brand Haier is dominant in Cuba. In the 1920s, a refrigerator factory was built in Qingdao, China, to supply the Chinese market. In 2006 Haier shipped 300,000 fridges to the island.The units are being made available to Cuban families by the government at subsidized prices.The refrigerators are passed down from one generation to another, caressingly maintained and restored.They are central to the household and confront their owners with the energy woes of a land that finds itself isolated at the end of the Cold War, no longer able to trade sugar for oil: Ice is civilization.

Kuba diatas es? Disajikan dalam koktail pada sebuah bar di tepi pantai. Bagi penduduk Kuba, untuk bertahan dalam kedinginan, keadaan diam adalah masalah perjuangan hidup sehari-hari. Merek Haier bikinan Cina menguasai pasar di Kuba. Pada tahun 1920an, sebuah perusahaan lemari es di Qingdao, Cina, memasarkannya di pasar Cina. Pada tahun 2006 Haier mengirim 300,000 lemari es ke Kuba. Lemari es ini diperuntukkan bagi keluarga Kuba dengan harga yang disubsidi pemerintah. Lemari es ini diwariskan dari satu generasi ke generasi berikutnya, dipelihara dan disimpan dengan baik. Lemari es menjadi barang utama dalam rumah tangga dan membuat pemiliknya penuh energi dan menemukan dirinya terisolasi di akhir perang dingin dan tidak lagi mampu memperdagangkan gula untuk membeli minyak: Es adalah kehidupan.

Awards 2009 “Oceanul Mare” - 3 sat-documentary award, Duisburger Filmwoche 06 2006 „Il Palazzo“ - arte-documentary award, Duisburger Filmwoche 06 2002 ”der wackelatlas – sammeln und jagen mit H.C. Artmann” tv-award for public education, Austria 2002

Karel Dudesek Lives in Beijing, Yogyakarta and Vienna. Artist, Publisher. Academic Worked in Universities in Vienna and London, Co founder of the Takeaway Festival at the Science Museum, London, of Van Gogh TV and Ponton European Media Art Lab, Hamburg, Germany. Founder of the Institute of unknown political affaires, IUPA, Beirut and Belfast, and Minus Delta t, stone transport from Wales, United Kingdom to New Delhi, India. Performance art, music, radio and television projects, India Triennale, New Delhi, Documenta Kassel, Germany, Ars Electronica, Linz, Austria.

Barbara Eder & Constanze Schumann

Johannes Hammel

Barbara Eder was born in Eisenstadt, Austria in 1976. In 1994 she did a student exchange year in Brownsville, Texas, on which she based her film INSIDE AMERICA (2010). Previous to that she studied film directing at the University of Music and Performing Arts in Vienna and made numerous short films. INSIDE AMERICA is her first long feature film.

Johannes Hammel was born on October 10, 1963 in Basel. He completed studies in camera work at the Vienna Film Academy. Since 1986, he has lived and worked in Vienna as a freelance filmmaker, cameraman, and producer. After several short films, Follow me is his debut as director of a feature film.

Filmography: 2008 hianznorthsouth (Documentary) 2006 Harald Serafin at the high seas (Documentary) 2005Heaven, Hell, rosary (Documentary) 2004 Death, Devil & commerce (Short) 2002 Sleepless (Short)

Filmography: 2010 Follow Me (feature) 2005 Last Supper (short) 2004 The Lovers (short) 2003 The Bathers (short) 2003 Mazy – system of transitions (short) 1992 Black Sun (short)

Nikolaus Geyrhalter Born 1972 in Vienna Nikolaus Geyrhalter has worked as Director, Producer and Cinematographer. He is focusing on directing documentaries. In 2003 he has founded the Nikolaus Geyrhalter Filmproduction Company together with his partners Markus Glaser, Michael Kitzberger and Wolgfang Widerhofer. NGF is specialized on producing documentaries and feature films for cinema and television. NGF is specializing in the production of cinema & TV documentaries with special attention on the author’s point of view. Filmography: 1994 WASHED ASHORE documentary, 1997 THE YEAR AFTER DAYTON documentary, 1999 PRIPYAT documentary, 2001 ELSEWHERE documentary, 2005 OUR DAYLY BREAD documentary, 2008 7915 KM Feature documentary, 2010 ALLENTSTEIG TV- Documentary, 2011 ABENDLAND Documentary

Sylvia Winkler & Stephan Köperl Sylvia Winkler (*1969 / Austria) and Stephan Koeperl (*1966 / West Germany) got their degrees from the State Academy of Fine Arts Stuttgart. Their collaboration started 1997 in Kunming/P.R. China. Since then they have realized urban interventions in numerous different places around the world like Bangkok, Cairo, Samara RU, Mexico-City, Montreál, New Delhi as well as all over Europe.

Thomas Lehner Elke Groen & Ina Ivanceanu

Born in Linz, Austria. Lives and works as artist and filmmaker in Vienna and Santiago de Cuba.

Elke Groen: Studied Architecture and Photography in Vienna. Films: Tito Material (Austria) 1998 Austrian Autumn Programming for “The art for the moment is resistance” “Bunica” (Together with Ina Ivanceanu)

Has been working in several movie, video and television productions in the Austrian media industry. His artistic works spreads in areas of visual art, performance- art-, artistic-music and experimental movies and Videos, art in public space, interactive media art, VR and Tele-Robotics. He has hold for several years an executive position at Stadtwerkstatt, a cultural cooperative in Linz Austria. He was artistic director of mix-media & mix-reality projects, and the broadcasting project in cooperation with the state TV, ORF and 3sat.

Ina Ivanceanu: Studied African Studies and Development Studies in Vienna and Leiden (Netherlands). She has spent numerous research stays in Africa, Asia and Eastern Europe. Films: “Bunica” (Together with Elke Groen) Festivals: Vienna International Film Festival 30

Nico Mesterharm & Team CO-DIRECTOR/PRODUCER: German journalist Nico Mesterharm directed his first feature-length documentary THE TRIP in the year 2000. It premiered at the Berlinale Film Festival in Berlin. Since then his films focus mostly on social and cultural issues in South-East-Asia, where Mesterharm has been living since 2001. In Phnom Penh/Cambodia he founded his media production company Meta Art Cambodia (2005) and the arts/media/communication center Meta House. In 2006 German State TV WDR aired Nico Mesterharm’s documentary LIFE`S A BEACH on the economic developments of the Cambodian coast, seen through the eyes of a teenage fruit seller. 2008 European Cultural TV ARTE broadcasted THE WIDOWS’ FARM – an insider report about the civil war in the Deep South of Thailand. CO-DIRECTOR/DOP: Mark Hammond has worked as a director, producer and writer of film, television and theatre for the last 20 years. More recently he directed the feature film JOHNNY WAS (UK/Irish/Danish coproduction) starring Vinnie Jones, Samatha Mumba and Patrick Bergin and produced “L’AMOUR CACHE” starring star actresses Isabelle Huppert and Greta Scacchi – which premiered at the 2007 Toronto Film Festival. Mr. Hammond is currently filming a four-part-doc film series on counterfeit medicine (PHARMACIDE) in the Mekong sub-region and prepares the feature film production THIS MAN, THIS WOMAN in Bangkok, Thailand.

Johann Neumeister Born 1976. Lives and works in Vienna. He studied philosophy, psychology, fine arts and computer music and is working in a variety of media, including painting, sculpture, performance, film, video and music. In 2008 he took part in the Mak-Schindler residency program in Los Angeles. Since then his work is mainly concerned with filmmaking. He is co-founder of several artist groups and bands and since 2006 co-director of Sezession Wichtelgasse.

Oliver Ressler Oliver Ressler (born 1970 in Austria) produces exhibitions, projects in the public space and films on issues such as economy, democracy, forms of resistance, social alternatives, racism and global warming. His projects have been exhibited in solo-exhibitions at the Berkeley Art Museum; Platform Garanti Contemporary Art Center, Istanbul; Museum of Contemporary Art Belgrade; Kunstraum der Universität Lüneburg, Germany; Centro Cultural Conde Duque, Madrid and in Alexandria Contemporary Arts Forum, Egypt. Ressler participated in more than 200 group exhibitions, including the MASS MoCA – Massachusetts Museum of Contemporary Art, USA; Itaucultural Institute, Sao Paulo; National Museum of Contemporary Art, Athens; Van Abbe Museum, Eindhoven and in the Prague, Seville, Moscow, Taipei and Lyon Biennials. For the Taipei Biennial 2008 Ressler curated an exhibition on the counter-globalisation movement, “A World Where Many Worlds Fit”, which was also shown at Foreman Art Gallery of Bishop’s University in Sherbrooke, Canada in 2010. Films have been screened at Duisburger Filmwoche; International Media Art Biennale WRO, Wroclaw; Image Forum Festival, Tokyo; Centre Pompidou, Paris; ICA, London; New Museum, New York; Serralves Museum of Contemporary Art, Porto; Museo de Bellas Artes, Caracas; Moderna Museet, Stockholm, and in hundreds of screenings organised by activists all over the world. In 2002, Ressler won the 1st prize of the International Media Art Award of the ZKM. His book “Alternative Economics, Alternative Societies” was published by the Wyspa Institute of Art, Gdansk in 2007. 32

AIAP was founded by Lukas Birk and Karel Dudesek. AIAP is a non profit private run art foundation. The primary use of the AIAP house is dedicated for commissioned works and projects. The AIAP house is located in South Yogyakarta, in Sewon, Bantul, 10 minutes from the city center. AIAP hosts the annual AIR Program, artist in residency program of the Austrian Federal Ministry of Art, Culture and Education. Two times a year, 1 artist will work for 3 months in the SewonArtSpace and will be accommodated in the guest rooms of the AIAP house. Besides this artists from several provinces of Austria will participate in the AIAP AIR Program supported by the respective county council. AIAP hosts the SewonArtSpace, an indoor space of 120m2 and a outdoor space of 100 m2, which are dedicated to exhibitions and studio space with attached guest-rooms. The SewonArtSpace will host selected artists and artist project from Indonesia, Austria and Europe and make them accessible to the public. The artworks themselves, can be multidisciplinary touching areas of visual arts, technology, science, craft, music and environment. SewonArtSpace is a subsidiary of AIAP, director and curator of SewonArtSpace is Dya Soemarno. AIAP mission statement: AIAP has an special interest focus on the interplay between man and nature. Artworks dealing with this subject will be preferred. Subject areas may involve cooperations with botanists, agriculture indoor and outdoor, plants and objects, Land art, integration of build and grown, manmade and natural grown objects . We can imagine that nature is a friend of men,

we use nature as food as nature sees men as food, men is part of nature. Still this relation is crucial and causes if misunderstood a lot of irritations, on the other hand nature stands also for an emotional and romantic view of beauty and purity. Nature can heal and also destroy, men vice versa. AIAP tries to address this process with artistic means and methods. Programming AIAP will hold general events, exhibitions, and special interest programming throughout the year. AIAP events programming, publications, and key objectives include: Showcasing recent Indonesian, Austrian and European works of art. Providing resources for interested international and local academics, students the general public in Indonesia, as well as for incoming European and Austrian artists. Producing on-going Austrian AIR Indonesia programming. Holding lectures and workshops. AIAP’s regular programming will be in alignment with organizational goals and objectives. The members of the steering committee will oversee programming in the following areas: Artist in residence program shows and results. Book presentations on literature, philosophy, and theory Environmental studies. Textile design. Film and Video. Fine arts. Interdisciplinary arts. Media art. Music. Performance and installation art. Photography. Public art. Sculpting. International Advisory Board AIAP’s international advisory board consists of representatives from organizational partners, legal and finance professionals, and cultural ambassadors from Indonesia, Austria and Europe. 33

Steering Committee AIAP is an artist-founded, artist-run, notfor-profit, proactive program. The founding members are Austrian and Indonesian artists with extensive experience in program management, events coordination, Indonesian culture, and Austrian contemporary art, with backgrounds in multiple art mediums. AIAP’s founding members believe in the importance of intercultural dialogue and cooperation. The steering committee is made up of AIAP’s founding members and is responsible for the development of AIAP’s mission, goals, and objectives. The members are: Lukas Birk, AT, Karel Dudesek, AT, Sugiharto Soeleman, ID. Background Two members of the AIAP steering committee founded the Austro Sino Arts Program (ASAP), which is based in Beijing, in 2008. Since then ASAP has organized three annual exhibitions in 798 Art district with works by more than 60 contemporary artists from Austria. Yogyakarta is one of the most important centers for contemporary art in South East Asia. Yogyakarta has a long-established art scene and is a historic center of Javanese and Indonesian culture – crafts, visual art, dance, music and architecture. Yogyakarta’s art scene is a grown and living community of artists, designers, street artists, galleries and museums, which is internationally well connected. The historical influence of Javanese culture is unique. From Animism, Hinduism, Buddhism, Islam and Christianity up to modern living forms of society, enriching and influencing the local artists. The intensity of cultural space, people, climate, nature and existing production possibilities are rare to find in such constellation. Certainly this offers enrichment and inspiration for artistic processes. AIAP programming will generate local and international interest; providing a comprehensive platform for the current contempo34

rary community, and facilitate Indonesian, Austrian and European cultural dialogue. Austrian Residency Program The Austrian residency program in cooperation with AIAP is funded by the Austrian Federal Ministry for Culture, Arts and Education and is supported by the Austrian Embassy in Jakarta. Every year, two Austrian artists will live and work in the Sewon Art Space, Yogyakarta, for 3 months, starting 2012 on an individual basis. The Main Goals of AIAP: Facilitating collaboration and discourse between Indonesian Austrian and European artists. AIAP supports the cultural activities of partner organizations within Indonesia, with the purpose of promoting contemporary art of various disciplines. Providing the Yogyakarta community with open access to Austrian and European contemporary arts and culture through a stable venue in which they may engage and build future relationships with Austrian and European artists.

Jogja Gallery [JG] JG launched on September 19th, 2006, situated at 0 (zero) kilometer on northern Square, also situated at heritage are, central city of Yogyakarta. Using the old spelling of the city’s name, Jogja Gallery is housed in the ex cinema building called ‘Soboharsono’ [built 1992], which functioned since The Netherland colonization. Jogja Gallery as a visual art gallery was established by PT. Jogja Tamtama Budaya has a grand mission, which included to promote the culture and wealth of arts of Yogyakarta to the national and international public, while developing an icon of new art and culture in Indonesia and in the same time keeping and preserving the heritage as an important asset of Yogyakarta. There are public policy and service that Jogja Gallery already formed such as regularly visual art exhibition, non exhibition cooperation, and artwork consignment, friends of Jogja Gallery, library, art award forum, art auction, artshop, café and restaurant. Jalan Pekapalan No 7, Alun-alun Utara, Yogyakarta 55000 INDONESIA Phone +62 274 419999, 412021, Phone/fax +62 274 412023 Phone/SMS +62 274 7161188, +62 888 696 7227 Email jogjagallery@yahoo.co.id info@jogjagallery.com www.jogja-gallery.com OPEN DAILY EXCEPT MONDAY; 09.00 AM – 09.00 PM

SewonArtSpace contact: Dyah Soemarno +62 856 267 0177 dyahsoemarno@sewonartspace.org Pelem Sewu, RT 06, Panguanharjo, Sewon, Bantul, Yogyakarta, Indonesia 35

AUSTRIAN ART FILMS BELOW THE EQUATOR FILM SENI AUSTRIA DIBAWAH KHATULISTIWA

Published by Mazine.ws Publishing, Vienna 2011 Copyright © Mazine.ws and all respected artists All rights reserved. Without limiting the rights under copyright reserved above, no part of the publication may be reproduced, stored in or introduced into a retrieval system, or by any means (electronics, mechanical, photocopying, recording or otherwise), without the prior written permission of both the copyright owner and the above publisher of this book. These regulations do not apply for educational purposes world wide. AIAP online at www.austroindonesianartsprogram.org Printed in the Global Marketplace. Sehr schön Design, Vorarlberg, Austria. Editorial & Layout by Lukas Birk & Karel Dudesek Production Managment Yogyakarta by Dyah Soemarno Film coordination Austria by Sarah Linder Translated by Austrian Consulate Yogyakarta & Gede Dwitya Arief Metera We would like to thank Klaus Wölfer, KRT Sugiharto S. Dirjohandoyo, Gudrun Hardiman-Pollross, Hermine Pfeiffer,. Austrian Embassy Jakarta: Shoura Hashemi Gerdehi, Michael Jan Swoboda, Dieter Planer, Wolfgang Hindler, Sri Aguswarni, Oon Sahroni, Alena Ullmer, Dian Haryati, Dwi Nugroho, Alief Ramadhan, Kastin. Austrian Film Commission: Martin Schweighofer, Anne Laurent. Further thanks to: Yusuf Kurniawan, Pramujiyana, Bram, Erich Pichler-Krutzler, Rainer Prohaska, Ali Banget, “A’an” Erdian Cahya, Puri, Mr Noor Landlord, Walter Steiner, April Zhang. Friends of the house

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