pravdakino

Pictures from the Neighbourhood: North End

2012-01-26T22:08:00.000-08:00

Just over the horizon, the sky was so Tarkovsky-ish. Gray and sentimental. We walked on the snow as the winter light fell over the North End. I read in Time Out Boston that North End is one of the Boston's oldest neighbourhoods, established around 1630s. It was Sunday. The place is hilly and quiet. Did I feel like in Perugia? Or Genoa? Or Sorrento? I feel like in Fellini's film.

Tightly clustered red-brick row houses hung with wrought-iron fire escapes. A cemetery. A small trattoria. Gelateria. Grayish pavements. An empty church. A beautiful park with Renaissance-style sculptures. Alimentare selling pastrami, salami, Italian cheese, sauces in the bottles, bottarga. The working class version of Buon Italia in Chelsea Market (I'd spend minutes after minutes just to admire the cheese while the staffs talk in Italian).

Empty facade. The hum of the waterfront. Mediterranean. Italian gentlemen sipping coffee in Vittoria or Maurizio. They look like they are out from Pasolini's film. Catholic with working class overtone. Or men in Armani. Ladies in Fendi.Tilda Swinton in Io sono l'Amore. Walking with their mink jackets.

Panettone time is over but we had a fake macaroon and a fake cheesecake at Mike's. Where is the torta di carote? Where is the cassata? [Even Jakarta has better torta!] Mike's pastry shop is over-rated.

I was staring at the window. Volle Nolle was closed. It was raining. It was getting cold. I saw a 1950s car passing the street. A pink car. I was not sure whether I was in 2012 Boston or 1950s Visconti. Suddenly, I miss someone who probably will talk about Guiseppe Tornatore or Goodfellas. He wasn't there.

My Winter Reading

2012-01-17T19:14:00.000-08:00

I walked down the street. It was wet and little bit dark. My head was spinning. I slept a lot. Too much. The weather was nice. I mean, the weather is nice. I wish I was in Gabon. Or Guyana. I don't know. I want to be lost. I am probably happy. I am probably sad. That is not important. For the sake of poetic quality, I prefer to use this unstable teenage hormone to justify my mood. Bad as a nail polish remover.

Today, my book order arrived. Campus 3. Only an hopeless Indonesian with unrequited passions for French language will order this. I have used this book to understand Godard's film last year (seriously, they put Pierrot le fou in a reading section. Quel mignon! fact:it's kidding. I used the book for my French course) mais tu sais, I have forgot almost all words after moving to this --regrettably for the French-- non Francophone country. Like Hollywood cliche, I think I'll start all over again. Same to the Chinese. I bought the introductory book aptly called "The First 100 Chinese Characters", written by two Americans by the name of Alison and Laurence Matthews. I don't make much progress but this book will teach you how to write one of the most complicated languages in this insane world. I learn how to write numbers (1-10), days, and months this week. I do it when I am stressed out. Surprisingly, it is quite fun because it's like drawing. I just fill the blocks with many characters as possible. My handwritings are hopeless, not to mention my pronunciation. My first resolution, however, is to overcome my fear of learning Asian languages. I thought they are as complicated as a relationship. They are but they might be something worthy of my fight. I am not sure about the relationship:-)

There is a moment when I want to revisit my younger days. I feel old and sad and miserable sometimes but in fact, I have a fond memory of past wild days . The days when I was sitting alone in a small library in a small town in third world country --dust and poverty outside--totally absorbed by Jack Kerouac. "On the Road" is my biggest invention after Stanley Kubrick --in a small gallery in the same small town in third world country --illiteracy and misery outside. For me, "The Beat Generation" is as monumental as "Easy Riders". They give you a real sense of American landscape: travelling, displacement, Wendy's, gas station, existential crisis, self-discovery, and drugs. Why would I care about America? I have read Hemingway (particularly his short stories), Steinbeck, and Faulkner. I was surrounded by those pretentious and snob local litteratis whose Sunday's activities were hunting cheap books in "shopping center" (a name of book market in my small town), and who liked to namedrop the Nobel prize winners every time they talked, who felt happy by intimidating you of not reading any literary works. We started to read Toni Morrison at that time (still one of the most powerful women writers I know). I knew Edgar Allan Poe (not sure I've read the works though) and quoted Walt Whitman but "On the Road" would be the book that changed my life (almost like "The Catcher in the Rye"). It's hip and I hate feeling that way. Fast forward, I am starting (and trying to find time) to read the legendary "Naked Lunch" (William Burroughs, another prominent Beat generation writer). I got 7 pages so far. How pretentious!!

My impressive achievement this winter is finishing this difficult textbook by the prominent art historian, Rosalind E. Krauss titled "The Originality of the Avant Garde and Other Modernist Myths". It's in our Fall reading list but I didn't have time to finish all chapters. So with utmost efforts and energy, I read this book and found it rather enlightening. Basically, Krauss lays out the foundation of modern art criticism, particularly by addressing works such as Picasso, Pollock, modern photography, conceptualism and minimalism (Richard Serra, Sol LeWitt), and her long-lasting interest, modern sculpture (David Smith, Giacometti). Krauss is so consistent on her proposition about abstraction and modernist impulse. Her is not an easy reading but well, in a position where any books about modern/postmodern art are full of political jargon, Krauss' sheds a light on several debates on modernist aesthetic. By the way, I am still struggling with a thick book called "Salon to Biennial -Exhibitions that Made Art History". It's a fascinating book with rich documentation and pictures. Not sure when I can finish it.

The second achievement that I am proud of are finishing (not surpisingly) a book called "The Brooklyn Follies" by Paul Auster and Cormack McCarthy "The Orchard Keeper". For "The Brooklyn Follies", my note stated that it has "a bad ending, man!" (23 Dec). For McCarthy, honestly, I grabbed it from a friend's shelves without any knowledge about him before (except "No Country for Old Men" the movie and "The Road"). It was such a difficult reading. But I thought it's cool to juxtapose these two writers. Paul Auster is, I would say, a typical contemporary New York writer who likes (and is good) to tell the mundane life of a New Yorker. Jewish or white middle-upper class character, Ivy league graduate/Columbia drop out, liberal democrat, with literary ambition, living in Park Slope or somewhere in Brooklyn, member of Park Slope Food Coop or something like that, in an existential crisis, heading toward self-discovery, delivered in crisp languages. While Cormack McCarthy's is dark (noir), Midwest-set, working and lower class characters with vernacular accents, facing/doing a murder, in a solitary landscape. You know.

The most boring book I read this winter (for a boring winter class) titled "The Research Imagination". I don't give a damn to surveys, polling, the search of objectivity, stuff like that. But well, this book is pretty much well organized, straightforward direct kind of book, which is useful if you are undergrad and aspire (I am afraid) to take a sociology or anthropology major. The book is excellent, actually. Maybe my life is not. That's the only problem I have (with this book, not with my life).

In Park Slope: A Failed Prose

2012-01-05T03:14:00.000-08:00

Frederikke Heiberg for Bollig Magasinet

a tree.

a house

a window.

a kitchen.

a breakfast.

you in between. in a story.

It is a pale March morning. You wear that blue checkered shirt with a black sweater that you bought last year, somewhere in downtown. You slept almost 12 hours the night before. Your clean-shaven chins are red with a trace of knife. Or wounds. That's unclear.

the wooden-color table.

the gray sunshine of Brooklyn sky.

a white teapot that I bought in the square.

two white cups of China green tea from Tazo.
a French omelette with summer herbs.

the glass window.

black birds flying from the windowsill.

the Sunday newspaper.

chilly air.

Your sweater smells of lavender. The black sweater that you bought from a downtown store.

your graduation watch. silvery like a spoon.

Converse shoes -made in Indonesia.

Uniqlo dark blue denim --I can feel the texture.

scholar's glasses.
a book about apparition.

an Iphone with a red sticker.

a bread knife.

Nina Simone's hums.

a brown leather wallet with a high school photo ID.

a passport.

a moleskine notebook. You bought for bargain in Strand.

a vase with lilies.

a Cathay Pacific return ticket.

falling words from the roof.

a vision.

glowing lights from the scaffolded window.

smells of pizza and tobacco and coffee in the neighborhood.

faded storefronts.

a fragrance of late winter.

a willow.

peaches.

abandoned bike racks.

empty pavements

a perpetual stillness.

a passage like this.

"burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue center-light pop and everybody goes 'Awww!'"

"beautiful insane in the rain"

"life is life, kind is kind"

On the road is the best book I have ever read, you say.
I agree -in silence. I started collected his works when I was 21. A former boyfriend gave an additional Allen Ginsberg's collection. I thought of compiling a Beat generation bibliography someday.

I can't think of you living in other places and times, I say. Not that the Skype won't help. You just don't die enough to cry.
You laugh. What are you talking about? No one belongs here more than me, you utter.
There is nothing that I can hide. I saw an exhibition the other day and I copied the caption.
"When someone paints a site of longing for the person associated with it, is it the place itself important? Or is it the person?"
Is it Wan Shouqi?
Three landscapes (1651).
You learn very fast.

The museum was so packed, I couldn't see anything. I walked down this section. It was quiet and lovely. The show was not particularly well curated, hmmm, I mean, well-designed. The display made me feel like I was in the 16th century for the wrong reason.
My friend works for the archive in Brooklyn Heights. You have to check.
I will.

The bread is good.
I think you're a liar.
What do you mean?
You are just trying to be nice.
No, it's true. The bread is good.
Is it good enough to make you stay?
I'll stay.
You are such a born liar.
You laugh.

a sweet revenge.
Nina Simone's hums.

a brown leather wallet with a high school photo ID.

a passport.

a moleskine notebook. You bought for bargain in Strand.

a vase with lilies.

a Cathay Pacific return ticket.

falling words from the roof.

720dpi: A Restless Year

2011-12-31T09:26:00.000-08:00

December 2010: I think I spent last year New Year Eve sleeping for 12 hours straight. I was exhausted from traveling. Four in a row. Oh, such a year. A few days in Dubai, working like a hell in 40 Celcius temperature. A beautiful city, though.

January-February 2011: traveling with housemate to Bali, Gili Trawangan and Nusa Tenggara. A real holiday. We were lost in the middle of Sumbawa but we didn't complain. Glorious weeks.

February 2011: A professor that I know sent me a nice email. I'll go for another 24 hours flight --one way ticket to America. I had to make a pact with the Department of Homeland Security.

March-April 2011: Spent another 17 hours in flight to Honolulu. Attended the Association of Asian Studies Conference for five days and worked for another days. Sometimes I was not as happier as in the picture.

June 2011: Southeast Asian travels. Hanoi for few days. Back and forth Singapore. Sick. Almost a romance. Alas.....

July 2011: Conceived Video Vortex #7 with my partner in crime. Wonderful team with wonderful people.

July 2011: This summer was hot like hell in New York City and Boston. Moved to Cambridge for good[?]. Starting the unforgiving years of graduate studies. Everything is illuminating.

I think I meet someone better. I think I will learn of not being selfish. I think I will learn to travel a shorter distance. I think I will learn to talk proper English. I think I will learn to be happier. I think I learn to embrace somebody that I care. I think I will revisit my political affiliation. I think I will learn Chinese. I think I might be able to read more books. I think I will learn to be more loving and forgiving --even to myself. I think I will learn to call my mom twice a month. I think I can learn to cook a decent breakfast. I think I will love Brooklyn more. I think I will start to read L'humanite. I wish I could care more for the fate of my country. I think I can love better. I think I will send more cards to my friends. I think I still can tolerate Hollywood and Tarkovsky. I think life is life, nobody gets out alive anyway. Why bother?

I Wish My Eyes Could Take Pictures

2011-11-27T09:29:00.001-08:00

I walked down Upper East Side on a fine Friday afternoon. The exceedingly brightness of this late sun illuminated expensive apartments just next to 3rd avenue. The sky was gold blue. It was sultry.The flower shop in the corner was lined with Christmas trees. Too early for the party.

I was at Guggenheim to see this large-scale installation by Maurizio Cattelan (1960, Padua, Italy) whose sheer force of it lays not on the artifacts but rather on the architecture, thanks to Frank Lloyd Wright.

The exhibition is titled "All", encompassing all objects he ever made, from Christmas '94 (painted plaster and incandescent lightbulbs) to Orozco-ian/the Museum of Natural History's dinosaurus sculpture to INRI taxidermied horse made in 2009.

Nancy Spector writes an impressive curatorial text (did I mention that it's a book?) stating that Cattelan's preoccupation with the possibility of failure has led him "to concoct a series of ingenious ways to avoid the burden of production and complicate access to his creative output". Complicated as it sounds, Cattelan does not fail at all to attract curious tourists and citizens alike to see how he occupies Guggenheim rotunda with his seemingly the most ambitious project so far. I feel that this installation work is the only thing worth visiting in Guggenheim. They have Kandinsky's Painting with White Border which looks like the re-play of their 2009 Kandinsky retrospective and Pop Objects and Icon from the Guggenheim Collection which in my point of view, is badly curated. Seeing the works of Roy Lichtenstein and Andy Warhol for thousandth time (perhaps) are not so much uninspiring as reading a curatorial text overladen with empty jargons and pretentious critique taken directly from academic text. Pop art curatorialship just makes me loathe.

I was thinking of you, why I wasn't? I worked for a moment in the library and then, at Starr Theatre coffeeshop. Upper West Side is so quiet. Everybody has wine in their table. I read a chapter from French Cinema reading. I was so happy. I felt that I have never been so happy before. I saw Edward Yang's Taipei Story. I almost cried. It was THAT good. I see Tsai Ming Liang and Jia Zhangke in different light now. Taipei Story gives you a sense of real that can hardly be found in another Chinese/Chinese-speaking directors. How he treats his characters deserve a mention. I didn't call anyone.

This is not a Guggenheim or is it? A room with a view. We talked over a glass of good wine. It gives me the impression that life is good, but it's not. There is something gloomy in the air. Mais, c'est la vie, the French said. I want to live there forever, though.

A friend showed me this article. It's in the latest edition (December 2011) of GQ Magazine. We talked about life in New York. Does it have something to do with Ai Wei Wei? Once he lived there. The writing is interesting, though. Ai Wei Wei is interesting.

We went to Willem de Kooning: A Retrospective in MoMa on Saturday morning. It was nice. The museum was not packed with tourists yet. The visitors were mostly gorgeous Upper East/West Siders talking about de Kooning like he is their friends. My friend, a painter, told me about how the exhibition was made, how de Kooning worked, why during 1940s and 1950s his brushstroke was stronger than before and after (1960s), what kind of experiments he had, why he liked green and blue rather than other colours. We talked about the caption and the curatorial text, which in MoMa case, is really helpful and excellent, sans jargon and academic snobbery. We talked about curatorship, her painter father, and life in the city. Suffering has never been so real.

We checked Diego Rivera's exhibition in the second floor. It was crazy and packed. The works are good. We saw the Harun Farocki's video installation which is kind of boring. War in America? Sounds familiar.

I was absorbed by the screen. I wish I saw you in these screens or at least one of the screens. I wish I could take pictures of you. Million times. I wish we were there, staring at these televisions. We will live happily ever after --like in American television.

Geographer's Love Letter

2011-11-13T15:01:00.001-08:00

Dear you,
Wherever you are....

I started to buy poetry books today. Wallace Stevens. Poetry helps me to convey the atmosphere, the mood, the sight, the smell, the dream and the feeling living in America --in English language. Have you ever found yourself mute, clueless, speechless, and wordless? Have you ever found yourself in the overwhelming flood of words -in Indonesian -and you feel that it's not right? You want to check the thesaurus and all those feelings are fleeting, ceasing, and disappearing in a split second? Why would anyone read an American writer? Why wouldn't somebody prefer Neruda, Rimbaud, Derek Walcott, or even, Lorca? Why somebody chooses poetry rather than a novel or travel writings?

I used to read travel writings, guide books, and urban history books while I was in New York. Those books give me a sense of meaning amidst gruelling process of displacement. The story about Clinton Hill, Luna Park, Brooklyn Dodge in 1953, or Polish neighbourhood in the fin de siècle Green Point are the stories that we share as a new adoptee. I bought Time Out Boston a few days ago. I found Pico Iyer's works in Harvard Book Store but I just lose my penchant. Am I growing old?

I use this book for the Visual Studies class. 1189-pages book in which I find it burdensome:) I presented Rosalind Krauss' Voyage on the North Sea last week with an additional reading on Raymond Bellour (super-difficult text). I think I have abandoned my cinema readings completely. The professor's list is full of modernist art reference. We read Structuralist film and modernist photography this week. I skimmed Susan Sontag, Against Interpretation for Ethnography class (which resulted in a quite impressive evaluation by my professor).

By the way, we read Hal Foster a lot. I think we read too much October.

For Anthropology, I finish Empire of Trauma by Didier Fassin. I found it fascinating, not only that it reminds me of the German miserablist, Walter Benjamin, but also it helps me a lot with my Biography's final paper, which I hope, will be about Hiroshima Mon Amour (Alain Resnair). I am reading Taussig now. I love his article on Walter Benjamin and drugs. I guess Taussig is an hipster anthropologist --he might wear American Apparel and sit in his Amsterdam Avenue -office with certain chemicals.

I also finished reading several books (& catalogue) on Apichatpong Weerasethakul's works (with obvious horror as I have to present the result this Wednesday). I guess, May Adodol Ingawanij's article on Transistor and Temporality: The Rural as Modern Thai Cinema's Pastoral and Benedict Anderson's piece on Apichatpong's Tropical Malady are the best. Ingawanij successfully evaluates the experience of modernity in Thai agricultural society and the question of auto-ethnography in rural-set Thai cinema. Beside these readings, I have to focus more on the exhibition of new media art which I find, terrifying topic -to say the least.

Do you remember this place? I took this picture in a bright afternoon -- I believe you worked in somewhere else. We used to read until... it gets boring or late --whichever comes first.

I saw this book (the blue one) in Raven bookstore (JFK Street). Once, it was a sensation. Artforum (the best book in 2009) and Frieze wrote it in a manner of new left manifesto (or Situationist?). In a time when #OccupyHarvard is our conversation, I think I have to recommend this book for a reading --in a fancy North African coffeeshop. I should have said that it's better to be read in French. But whatever it is, The Coming Insurrection is a gem.

ps. I start to miss my 'mama'. All these words and books would be unintelligible to her (we used to live in the darkness of 'uncivilization' and third world poverty). "You can get married to any American boyfriend. But please, don't forget home," she said before I left. I asked, "But where is home?"

Cambridge Scrapbook

2011-11-04T10:09:00.000-07:00

September 24,2011

I woke up early this morning, like another morning, just to find out that I am lost in translation. The sky is grey. I can see water freezing in my window pane. I had dream last night. I felt like I was walking toward something. I was alone or looked like I was alone. I wonder how it happened. I heard the church bell ringing. I felt like I was in Scotland. I remember those vast Constable's landscapes. Or Turner. Everything looks like in a painting. Neo-Romanticism or something. Red brick buildings, tree-lined yards with the view of slow moving tourists and rushing students.

I guess the orange glow of summer sun will no longer pierce through my eyes. A few days ago, walking through the deserted alleyways, I felt like I was intoxicated by the flashing neon. I was awake. Maybe it had something to do with translation. Maybe it had something to do with transformation. I try to find a structure, signs, clues, function, comprehensible ideas, understanding, words, images but "words never say what I am really saying" (Godard), N'est pas? It's all about language: the house where the men live. My mind wanders.

September 26, 2011

I start writing a diary -in English --just to prevent me from mixing days and dates.

September 29, 2011

I went to a flower shop on Brattle Street [the picture is not from Brattle Street though]. Such a magnificent and peaceful shop. I love the greenery and its damp floor. It smells of water and flower. I heard a love song from somewhere. Such a sad afternoon.

October 9, 2011

Massachusetts Avenue

I decided to walk in the neighbourhood. It was a wonderful afternoon. I saw so many beautiful single houses on Cambridge Street (feel like in Menteng). White painted houses with porch, Ivy and gardens. I found a Brazilian/Portuguese-speaking neigbhourhood down near Prospect Street. I checked out Lorem Ipsum bookstore. It's like a place for hipsters, with beautiful afternoon music and snob staff. I went to the Whole Food to buy some stuffs and flower. It's such nice walks. It seems that walking is like shedding your tears away. I finished three chapters of Ethnography reading.

October 14, 2011

Somebody told me that he has to call his father. I feel I have to call my mother.

Lorem Ipsum

October 24, 2011

Such a strange weekend. I went to Cornell and then Yale with a friend. I hate to go (tired) but I enjoyed the sight during the trip. The lake, the yellowish forest, the setting sun, the golden sky, the passing cars, the displacement. I feel like I am in Murakami's novel. By any definition, Cornell is cold. I can write thousand poems there -in loneliness. We drove to Yale afterward. An American experience [Jack Kerouac will be proud]. By the way, a friend explained to us the differences between 'close friend', 'dating', and 'seeing' --from American heterosexual point of view. I really miss 'home'[Cambridge] or somebody. It was not clear.

Connecticut, Interstate 91

October 30, 2011

I stood in the porch in the second floor when the snow was falling. lt was white and cottony, and I could smell the familiar odor of cigarette around. I had a strange feeling. Felt like I am in the country (yes, you, tropical country!) but it was freezing. We run like kids and I felt that we were in Williamsburg or somewhere. Certain place reminds you of other places. They are infinite.

2009, Ricoh GX

Of Cinema and Other Demons

2011-10-14T22:53:00.000-07:00

I found this passage in my tumblr page. A poem by Wallace Stevens.
It was evening all afternoon.
It was snowing
And it was going to snow.
The blackbird sat
In the cedar-limb.

There is something mesmerizing about the words. About the diction. It's like seeing a good film, alone (or with somebody you love), in a rainy day and you get a cup of tea after the screening. A real good tea in a real good teahouse, with a view of New York West Village. I talk about M. Chris Marker film(s). I saw it again this week, with Spanish subtitles. In the last few weeks, I have been watching some of his best films. La Jetée (1962) is still one of the best films ever made in the Western hemisphere. Immersed in the hundreds of black and white photographs in the familiar yet strange language, I wish to call the past and the future to the rescue of the present. La Jetée is a story of finding your own death. That is how the film is prescribed for my Visual Studies Class. Seems like celluloid as our preoccupation now will find his/her death very soon and there will be no funeral.

I saw Level 5 (1997) afterward. It uses many digital images which makes Chris Marker savvier but less reflexive. However, I found the film intriguing. The story of killings (voluntary killings, indeed) just stunned me and it happened in Okinawa and Nagisa Oshima was there. The idea of mass slaughtering is just too much to bear. But then, I stumbled upon Apichatpong Weerasethakul's project, called Primitive (2009), premiering in New Museum a few months ago which deals with another massacre. I watched some videos for the exhibition here. What strike me is the words that Apichatpong writes in the book by James Quandt (ed.), Apichatpong Weerasethakul, published by Filmmuseum Synema Publikationen in 2009 as follow:

Later I remember when I was in the jungle
and saw no light.
I would look directly at the sunand close my eyes
I saw the white orb in the darkness.
Only that act could bring comfortbecause I
always fearthat one day
when I open my eyesI will see nothing

What a powerful expression! I am just totally absorbed. I always have a presupposition that talking about Apichatpong Weerasethakul will be just too much. It's overdiscussed in Southeast Asia. While thinking about a project for the Visual Studies proseminar, I thought about some possible topics. Some ideas are circulating such as digital materiality, nostalgia of celluloid, such and such things. It's pretty unclear and at best, I am just absent minded. Then I found a book in hollis catalogue titled Visualizing Theory edited by my dear professor, Lucien Castaing Taylor. My eyes came across a chapter on Surrealism, Vision and Cultural Criticism. It is divided into three parts: the dilemma of Surrealist Politics in 1930s, Exquisite Corpes and Surrealism and the Crisis of Ocularcentrism. I think the book is wonderful and I started to think about the 21 fin de siècle like the 20 fin de siècle .

Basically I am exhausted by recent discussion and conversation on digital materiality, the death of celluloid and such and such. Surrealism seems have a broader critical concept that can be useful for the discussion of the medium specifity and the chaotic discourse regarding celluloid/digital transformation. Writing some notes on my book, I came to the class with weak spirit. As the professor asked us about the project, I just said instantly that I will do the Apichatpong reading which, to my surprise, excited her. I am interested more with Surrealism rather than Apichatpong, but then, I found out that Apichatpong is more relevant and interesting to the class rather than the early 20th century Surrealism.

I started to do a research this morning and was shocked by the fact that albeit he is one of the greatest contemporary filmmakers in our time, there is limited scholarship on him. James Quandt's book is the first of its kind. Amazon has a list. Jihoon Kim's article in a book, Global Art Cinema, is really really interesting, still I can't find other important works that deal with his gallery/museum practice. This is really strange. I am trying to order the Primitive catalogue and I'll see how it turns out.

Credit: Ben Rivers

I am assigned to work particularly on his gallery/museum practice. Primitive is amazing works. I just can't say otherwise. It's one of the best recent videos I see. I saw nostalgia (four series, link is here) by Hollis Frampton early this week. Such a strong work. I just missed the 1970s NY Downtown scene. My professor recommended us to see this video by Wilson sisters and I will say that's supercool. I'll recommend Ben Rivers' works too which are ethnographic, dystopian, eerie as well as fascinating here.

I just got back from Claire Denis' screening. I have seen 35 Rhums in New York (I believe) two years ago. I was kind of reluctant to go as I was in total love agony (nobody knows what it does mean, including me). But then, I saw it (again) and found it really beautiful. I am wondering why I didn't find it interesting in 2009. I might just come from Anti-Christ screening or something so I did not like it. The film is really atmospheric in a way. I just talked with Puput in her Parisian banlieue apartment about Paris and it's so strange to see the Paris banlieue in the movie. It has a poetic quality that made me think about going to a French cafe and sippinga cup of tea (facing the windowsill, it's raining outside, ideally alone, with certain suffering in your heart).

I might be thinking about St. Michel or Montmartre. I don't know. It's kind of very French. C'est Paul Valéry.
Ne hâte pas cet acte tendre,
Douceur d'être et de n'être pas,
Car j'ai vécu de vous attendre,
Et mon coeur n'était que vos pas.

[In fact, I didn't go to a French Cafe. I was sipping a cup of tea but I was not alone. It's raining though].

New York Scrapbook

2011-10-08T03:51:00.000-07:00

October 1, 2011, 12.47am, Hester StreetIt's raining outside. It's cold and quiet. It's so strange. I just arrived and saw Lou Reed. He is peculiar. Hilarious though. Seems he took too much drugs back then in the 1970s. Can't wait for the Velvent Underground's reunion later this year. Bryant Park is so beautiful by the way. The glow of orange lamps shine through the darkening trees. Somebody must like it. Uniqlo plans to open a new store there. I don't have any objection.

Art by EviairOctober 2, 2011, 12.44am, Jackson HeightsWalking down Jackson Heights through Elmhurst. Heavy downpour when we were at PS1.MoMa for New York Art Book Fair. Such a wonderful place. Beautiful art books, beautiful people with beautiful clothes and shoes, beautiful music, and broken account.Got a bag from Gagosian. Bought a curatorial journal called 'La critique" with the recent edition titled 'The Exhibitionist". Went to heavily gentrified and transformed East Village to eat at Grand Sichuan Restaurant. Spicy and good food. Met Harvard student. Economics major. Saw two super-cute NYU students. They ate cucumber salad. Diet reason, I guess. Cecil and I speculated that they must go to Trader Joe's or the Whole Food Market for shopping. The yoghurt place has been converted into a bar. We strolled down Broadway and checked Uniqlo. I got a crush on their winter jacket ($169, sigh). Taylor-cut (or cute).

October 3, 2011This is like a mourning. Or strolling through Brooklyn arcade in Benjaminian sense. I have to finish Jonathan Lethem, I guess. Went to Beacon's closet to buy some stuffs and had a decent brunch in Collete. Williamsburg is changing, but everything is changing. The bodega in the corner of N7th street now is run by Asian (Korean, it seems) with beautiful flower pots outside. Oasis is still there but the Salvation Army is closed. More white, affluent and mature crowds now. All those fixie crowds are moving east. No surprise, eh.

FLESH:OK.Video

2011-10-08T03:42:00.000-07:00

What I miss about Indonesia is perhaps ruangrupa. In this exact moment when I write this post and feel utterly sober, they're organizing Ok.Video Flesh, 5th Jakarta International Video Festival. The event takes place in Indonesian National Gallery, from 6th-17th October 2011. Electronic Arts Intermix is joining force with Langgeng Art Foundation to present major video works from Nam June Paik, Vito Acconci, Joan Jonas, etc. The first exhibition in Indonesia featuring such big names in the western hemisphere video scene. More info is here.Fyi, my dear friend, David Teh writes a critical article on Apichatpong Weerasathakul's films in Third Text with following link. Should be interesting for those who work in Southeast Asia/contemporary global art/cinema fields.

Pictures from the Neighbourhood:Alston

2011-09-03T22:05:00.001-07:00

Along the Cambridge Street, Alston, MA, I found a familiar American landscape: pizzeria, Ace-signette, parking garage, laundromat, mura and small cafetaria. I like Alston's neigbourhood. It's thriving, ordinary in some ways, and lively. You can find strange Russian restaurant, a Russian gourmet supermarket where everybody speaks Russian, a Vietnamese joint, Chinese supermarket, Hispanic neigbhourhood and old towners. A typical American town.

On Brighton Avenue (it reminds me of New York's Brighton Beach), you also can find Irish pubs and some rock clubs. Time Out Boston has a list and guide. What I like about this neighbourhood, though is its signette and storefronts. These are dominated by red colour. However, some are significant because of its 'artistic choice'. I took this picture because I like the style of this supermarket's signette. Cinema-like signette might dissapear anytime soon.

Comparing to other cities that I know (NY, SF, or Chicago), Boston is really clean from what so called street vandalism. Of course, everybody knows that Shepard Fairey is from this town. But does it mean that I have to see his signatures everywhere? Com'on, he is not the only one!

This vintage Coca-Cola signette reminds me of 1960s American road movie. Route 66 anyone?

They try to cope the boredom.

Pictures from Harvard Art Museum

2011-08-21T10:18:00.000-07:00

Islamic Art Collections

My Bauhaus Idol: László Moholy-Nagy

Robert Rauschernberg

Joseph Beuys

Yesterday, I visited the small but quite impressive Harvard Art Museum. They have a quite rich collection of American and European modernism. Their Islamic and Chinese art are so small but some are worth checking.

Museum Visit: Peabody Essex Museum

2011-08-14T22:33:00.000-07:00

credit: Anish Kapoor, "Halo", 2006, stainless steel

Last Saturday, our ELP class was going to Peabody Essex Museum. This is the second museum I visited in Massachusetts. Last week, we went to John F. Kennedy Museum in Boston. Peabody Essex Museum is located in Salem, a small town in the northern part of Boston and is famous for its maritime traditions (not to mention that they have Witch Museum that I did not visit). I observed that like any other places in Massachussets, Salem is full of red brick old buildings. I guess they were built before the American Independence in the 18th century. This website can give you an overview of this quite beautiful town.

I don't want to talk about Salem actually. I want to talk about the Museum. Peabody Essex Museum (PEM) is not a big museum in New York City-sense, but it's not a small museum either. Its medium size building, however, is an advantage. Located in a quite packed touristic neighbourhood, PEM has impressive collections of maritime arts, native American and Asian arts, and also modern American arts. Right now, they have two extremelly impressive special exhibitions. First is "Painting the American Vision" exhibition that shows rich collections of Hudson River School paintings, taken from the collection of the New-York Historical Society. 45 magnificent landscape paintings by Thomas Cole, Albert Bierstadt, Frederic Edwin Church, Jasper Francis Cropsey, and particularly Asher B. Durand might not resemble Constable or Turner of the British Romantic but I find their works magnify the American spirit and the light and impression of the new country.

The second exhibition that is worth to check is Man Ray-Lee Miller exhibition. Man Ray, a prominent member of the Surrealist Movement had a very complicated relationship with his student cum lover, Lee Miller. The exhibition focuses on how both artists try to deal with their desire, relationship and artistic practice. The collection presented encompasses an extensive catalogue of their photographic works, letters, sculptures and paintings. Two works from Pablo Picasso are presented with a historical publication of Surrealist Movement edited by Andre Breton. A rare opportunity, I guess. Some other impressive collections in the Museum are Qing dynasty-Chinese house, Japanese collection, and even Anish Kapoor's work. This alone should be enough to attract museumgoers to come.

Video of the Week: MORFEM

2011-08-14T20:18:00.000-07:00

A companion to my homelessness

Welcome to Bos-town

2011-07-31T16:40:00.000-07:00

Photo: Shepard Fairey, Holyoke Street, Cambridge
I am glad to announce that starting Saturday, 23 July 2011 last week, I moved to Cambridge, Boston for studying. I just finished the Video Vortex project and directly came here without proper farewell. In fact, I directly went to class on Sunday, doing some test and works. Harvard is tough. I have been a week here and there is no single day I spend for even watching film. We have class from 9am to 5pm and afterwards, we have crazy homeworks that only genius can finish it on time. I'll change my blog format a little bit. I will write more personal things, you know, how is life in this uber-university. Pictures will follow.

Video Vortex #7, Yogyakarta, 18-22 July 2011

2011-07-11T00:34:00.000-07:00

Despite my preparation to Boston, I can work on a project developed by my dear friend, David Teh. The project that we are doing is called Video Vortex #7, a satellite meeting of the Video Vortex network, in conjunction with Cellsbutton #5: Institutional Cells, YogyakartaInternational Media Art Festival, 2011" to be held in Yogyakarta, Indonesia, 18-22 July 2011.

Video Vortex #7 aims to map out the explosion of video and organizations in Indonesia since the arrival of affordable platforms for production and distribution. Video Vortex #7 wishes to focus on the ground-up networks devoted to art and digital culture, social activism and participatory media – to survey this diverse activity, its growing purchase on the public sphere, and the challenges faced. Video Vortex #7 is the first conference on the history, aesthetic and networked video in Indonesia and beyond. It will be an opportunity for the regional as well as Indonesia community to exchange ideas and develop a common vision for the future of video art and video technologies in Indonesia.

Video Vortex #7 will consist of:
• Lecture “ Video Spheres and Bubble: Applied Aesthetic of Networked Video” by Andreas Treske (Video Vortex, Turkey/Germany), Monday, 18 July, 2011,10am, Program Ilmu Religi dan Budaya, Universitas Sanata Dharma, Jl. STM Mrican 2A, Gejayan, Yogyakarta 55002
• Presentation “Video Voyage”, with Clarissa Chikiamco (Manila) and Allison Holt (USA) ,Monday, 18 July 2011, 6.30pm, Langgeng Art Foundation, Jalan Suryodiningratan 37, Yogyakarta
• Workshop “Video, Object & Performance”, by Henry Foundation and Reza Afisina (OK. Video/ruangrupa),Monday &Tuesday, 18-19 July 2011, 12pm-18pm, Langgeng Art Foundation, Jalan Suryodiningratan 37, Yogyakarta
• Workshop “Networked Video Performance and Live A/V Montage” by Emile Zile (Australia/The Netherlands), Tuesday, 19 July 2011,10.30am,House of Natural Fiber
• Screening “Video Vault – special screening and roundtable discussion”, with IVAA & Jompet Kuswidananto, Tuesday, 19 July 2011, 4pm, IVAA, Dipowinatan 188 A/B, Jalan Ireda, Gang Hiperkes, Keparakan,Yogyakarta

• Seminar “Video in Indonesia: Histories, Aesthetics, Networks”, presenting scholars and video practitioners from Indonesia, Australia, and Europe: Agung Hujatnikajennong (ITB/Selasar Soenaryo), Ade Darmawan (ruangrupa), Aminuddin TH Siregar (ITB), Thomas J. Berghuis(University of Sidney), Forum Lenteng, Ronny Agustinus, Andrew Lowenthal (EngageMedia), Andreas Treske (Video Vortex), Aryo Danusiri (ragam/Harvard University) and Kunci Cultural Studies.
Wednesday-Thursday, 20-21 July 2011, 10am, Kedai Kebun Forum, Jl.Tirtodipuran No. 3, Yogyakarta

• Performance “Emile Zile: Post-it Kino / *best*RapidEssayNSFW!!” [HONF Showcase], Thursday, 21 July 2011, venue: Taman Budaya Yogyakarta

• Workshop “Interactive Storytelling” by Andreas Treske (Video Vortex, Turkey/Germany), Friday, 22 July 2011, IVAA, Dipowinatan 188 A/B, Jalan Ireda, Gang Hiperkes, Keparakan, Yogyakarta

MOre info is here. Cellsbutton #5 is here.

What Rosalind Krauss Has Done to Garin Nugroho?

2011-06-28T12:46:00.000-07:00

A few days ago, I went to traffic jammed- Bentara Budaya Jakarta for attending Garin Nugroho's exhibition, titled "Nderek Mariah:Post-Cinema". The exhibition was being held as commemoration of 30 years of his art career and lasted from 9-18 June 2011 (before traveling to Louis Vuitton Gallery in Paris).

The exhibition brings some photos, excerpt from his previous films, and installation from his particular and excellent 'Opera Jawa'. He called his works as post-cinema, "the post industrial era. It is a process of continual transformation of the media and simultaneously also a never-ending process of interactions. The post-cinematic world is akin to process of going back to the future." This rather ambigous statement should be put in his context. In recent years, after the succes of 'Opera Jawa' (should be dubbed his best film), he made several low-key films unsuccessfuly (in term of artistic and financial consideration) then turned on theatre production who serves him a quite impressive world-wide fame. Working with Simon Field of former Rotterdam Film Festival and Peter Sellar, famous playwright, Garin Nugroho traveled Indonesia and Europe to show his theatrical mastery. Picking most of the story from 'Opera Jawa', Garin reproduces his passion for Javanese performing arts.

Concentrating in his theatrical works, he has kind of reflection as he said that the history of cinema, the art he loves most, is the history of happening. I initially thought that he might think about Tom Gunning's terminology of 'cinema of attraction'. But in the end, I am aware that his proposition is fitted more with his interest on performing arts. Garin Nugroho grew up with strong Javanese culture where performing arts (theatre and dance ) are a rich heritage. He sees film as the extension of this arts. 'Opera Jawa' is by any definition his true self and true vocation.

What I found problematic is his theoritization that tends to complicate his own practice. "Nderek Mariah' is a homage to his mother, to his Javanese mother, in figural and metaphorical sense. The exhibition itself was surprisingly small, with several sculptures, video works, photos, and some text-based works. However, I would like to emphasize that the craft and the handiwork are quite impressive. He tried to connect his personal histories with more sub-personal text. For example, he deliberatly took his mother's tale about Communist killings in 1960s. The need to address 'big' political issue is typical Garin, but quoting Post-Cinema in the title is more than laughable material for some.

In 5th Jogja-Netpac ASian Film Festival last year (2010, Garin Nugroho is founder), Garin hosted a discussion titled 'Post-cinema, Post-Theatre, Post-Visual Arts, and the Future of Indonesian Performing Arts". This over-the-top title explained a lot about its content and more, about its direction. The discussion was aimed to 'explore some impacts from new media ecology change'. The conversation about digital and media convergence seemed unavoidable. I believe in some extent that Garin Nugroho is one of the smart director in Indonesian film scene. But his proposition and use of 'post-cinema' kind of represents the confusion of the post-modern/contemporary era.

Having a strong root in Javanese 'home' and mother, Garin is intereseting on how he reacts to the 'crazy', 'unthinkable' digital era like nowdays. He is kind of trying to grasp the spirit of the era which in the end, puts him in the position of Javanese observer. Post-cinema has nothing to do with Mariah, less his artistic practice. It represents his worries. Quoting Rosalind Krauss of 'post medium condition', Garin Nugroho strives to understand this contemporary phenomenon, in which cinema is not able to fully handle it.

I would say that the most interesting part about this exhibition is Garin Nugroho's adoption of the word 'post-cinema' He might read Rosalind Krauss' proposal to maintain the legitimacy of medium specificity and of the notion of medium as such in order to individuate forms of artistic practice in the contemporary new media environment. What he does not fully understand is her stance was initially launched in the realm of a contemporary art criticism that has been confronted with the pervasive power of electronic and digital media. "Her response is to redefine a medium as ‘a set of conventions derived from (but not identical to) the material conditions of a given technical support, suggesting that the medium is not reducible to its physical properties." (Ji-hoon Kim, 2009). Hence Garin Nugroho's notion of his artistic practice might be tarnished by taking the whole different set of theoritical approach.

On Jakarta Cinema Scene

2011-05-22T22:12:00.000-07:00

Where people go to watch movies? As I have lived in Jakarta for more than five years now, I have several favorite places to see movies. My choice is of course, Central Jakarta-biased and might not do some justice to some suburban or even, thriving South Jakarta scene. Sorry, hipster!

1. The most comfortable cinema in Jakarta: Premiere Studio at Plaza Indonesia
XXI at eX Plaza Indonesia is the most lovable cinema theater in Jakarta. With its comfy seat and prime location, XXI screens Hollywood (if available) film, rarely domestic flick in very excellent big screen and good Dolby system. Unfortunately, it comes with price (100,000 IDR/weekend, 2 studios, Bus stop: Plaza Indonesia)

2. If your favorite film does not play in Premiere Studio, then you head to Djakarta Theater
One of the oldest theaters in Cineplex 21 network, Djakarta Theater shows selected Hollywood/foreign films in big screen. Their schedule is always up-to-date and the new release film will always be their priority. The place is suitable for groups of people and families. A lot of eateries nearby. Very accessible and good place for meeting points.
(2 studios, Bus stop: Sarinah)

3. The best place to see Indonesian movies: XXI Blok M Square
I am reducing my Central Jakarta-biased here. Blok M Square is conveniently located in Blok M area, just few meters from bus terminal (accessible via bus way) and a block from Little Tokyo (where you can find old Japanese executives karaoke) and thriving South Jakarta food scene. The majority (four or five ) of their six studios are dedicated solely for Indonesian movies, which is admirable. There is no English subtitle for the movie but if you want to experience the local film scene/local audience, then this is the place.
(6 studios, Bus stop: Blok M)

4. My neighborhood’s cinema: Metropole XXI
Ten minutes from my house. Perfect location. Screen Indonesian as well as Hollywood movies. Legendary pempek and Javanese food. Amazing architecture (art-deco). Historical theater (built in 1932). It has superb twilight’s panoramic view.
(6 studios)

5. Feel slightly like Lincoln Center-combined with-Film Forum: XXI TIM and Kineforum
XXI TIM is commercial theater, screening Indonesian and foreign film in cheap admission. TIM crowd is student and middle-working class trying to find cool place with decent movie. Kineforum is an art house theater screening art film/short film/documentaries/alternative film from around the world. It’s the friendliest place for young and aspiring filmmakers. Their programming changes every month so keep checking their website. Filmmakers frequently come and present their film here. They have special events, festival, party, and workshops too. Don’t miss their national film month every March. It’s an ‘obligatoire’.
(XXI TIM: 4 studios, Kineforum: 1 studio, located at TIM Cultural Complex, Jl. Cikini Raya No. 73 Jakarta)

6. Best place to see movies who likely win awards somewhere (including Cannes) : Blitz Megaplex at Grand Indonesia
I always love their good quality Hindi/Bollywood movies, Thai romcom and Japanese horror film. But their selection of European and American indie deserves a mention. Located in upper-class shopping mall, Blitz Megaplex is a good place after your full-day meeting schedule.
(11 studios, Bus stop: Tosari/Plaza Indonesia)

7. Best Place to have third-world experience or just to have sex and movies is Mulya Agung/Grand Senen
Mulya Agung/Grand Senen is among the last surviving old cinema in this cruel city. Screening old (1980s!!!!) Hongkong or local sexploitation movie, Mulya Agung/Grand appeals for lower class audience trying to watch movie for 3,500IDR and a place for guys to have sex –both heterosexually or homosexually. It’s an experience, I am telling you. The beautiful art deco in Grand Theater now is devastated by gritty and bleak sight of dust and traffic (not to mention sperm). Entering the place is like going through the time machine where you lived like in the debauched 1990s. Enjoy the scene, as everybody has a good time here.

(Grand: 2 studios, Mulya Agung: 4 studios, Bus stop: Senen)

Basic Information:
Cinema 21 is largest cinema networks across the archipelago. Established in 1986 by one of the closest Soeharto family, Sudwikatmono and his partners, Haris Lasmana, Cinema 21 soon is alleged for monopoly practice as the networks own more than 500 cinemas, mostly in Jakarta, Bogor, Tangerang and Bekasi.

Blitz Megaplex is established in 2007 and has 11 locations. The second largest network in the country, Blitz Megaplex caters mid-upper class with its shopping mall-tied location and facilities.

Rethinking Contemporary Indonesian Film Production

2011-05-19T22:20:00.000-07:00

As a matter of fact, the following writing is written by me and my colleague, Puput Kuspudjiati for Association of Asian Studies Conference in Hawaii this April. But I think this article might be useful to contribute to conversations in Indonesian cinema right now. Enjoy!

How to describe and theorize the production of cinema in the region where local film is never being so dominant? A few weeks before this presentation, Hollywood studio (under MPAA) quitted distributing their film in Indonesian cinema on a reason that a levy of 20 % from gross revenue (cents per meter of film imported) imposed by government will not longer profit them. Indonesian film community is quickly divided into pro and con. Some Indonesian filmmakers and public react angrily stating that this country is going back to the dark ages where foreign film is banned. Another filmmakers are saying that the halt of Hollywood is the end of its domination toward cinema screen in Indonesia. With their nationalist rhetoric, those filmmakers see this as opportunity for Indonesian filmmakers to grab their domestic market.

This incident is one of the discourses that shape the new conversation of Indonesian cinema, a conversation that is enabled in a democratic space, yet capable of hiding its authoritarian legacy. As many might be aware, Indonesian cinema has undergone substantial change in the last ten years. Fuelled by new talent and political-social changes dating primarily to the period of “reformasi” (reform movement) in 1998, Indonesia’s film production is enjoying a revival bringing it both domestic attention and international recognition.

In 1999, the liberal President, Abdurrahman Wahid (1999-2001) dissolved the Ministry of Information (Kementerian Penerangan) that changed the climate of Indonesian film production. During the New Order, all filmmakers have to go through many complicated procedures to make films, ranging from providing the screenplay and list of cast and crews. After the dissolution, there is confusion, as who should perform the registration. As a result, vacuum of power prevailed. In this particular period, Indonesian film production raised from the dead owing to the fact that making film is easier than before.

The term ‘film production’ here does not only refer to the production of feature film made particularly for theatrical release but also to other visual production which includes short films, documentaries, experimental film and in some extent, video-based works (such as video arts). Statistically, the number of film screened in the theatre is far less than the film that had no opportunity to be released theatrically. After reformasi, filmmaking becomes a trend, engaging more people, particularly young people, to be involved. With the new access of digital technology, more and more (young) people are able to be filmmaker though theatre number is limited and difficult to access. Thus these new crops of filmmakers turn into local festival and other independent means to show their film. Hence in 1999 a new vocabulary was born, that’s ‘film independen’ (independent film). ‘Film independen’ is a terminology that encompasses all film, from feature film, documentary, and short film made and circulated in local film festival circuit . This ‘film indie’ terminology is more into ‘anything against the New Order’ rather than indicating certain aesthetic and political tendency. Festival Film-Video Independen Indonesia (Indonesian Independent Film and Video Festival, FFVII) in 1999 was among the first who launched and boost this growing independent scene. FFVII received 1071 short films and video works, a never-before-seen phenomenon .
In term of commercial production (that’s feature films made for theatrical release), the change occurred during the late period of the New Order. In 1990s, government resumed imports of foreign films. As a result, the number of local movies decreased significantly, from 115 titles in 1990 to embarrassingly less than 10 titles in 1997. In 1987, Soeharto permitted the operation of private television, RCTI who is managed and owned by one of his sons, Bambang Trihatmojo. Soeharto’s first daughter, Siti Herdiyanti Rukmana who set up Televisi Pendidikan Indonesia in 1991, followed this venture. In 2010, nine national televisions compete to reach 220 millions audience. Television encourages film companies (mostly owned by Indian-descent producers) to turn to sinetron (soap opera) production. As reminder, these production houses have been working in Indonesian film industry during 1970s and 1980s. As after 1998, the film returns to their power, these companies start to produce movies again.

Following the production of ‘Kuldesak’ (1997) , Indonesian commercial filmmaking is back with vengeance. This small size industry (compared to Japanese and Korean film industry, not to mention Hollywood and Bollywood) quickly gains its strength from ‘democratization’ of media landscape and new capitalization of the industry. Early 2000 were the fertile period for Indonesian cinema as filmmakers conducted many experiments in term of filmmaking method and aesthetic/thematic approach. However, in less than five year, genre film production is established. In this case, traditional genre such as horror, comedy, and children/kid movie lure Indonesian audience to go back to the movies. Market is formed, particularly for theatrical release . In this period, old and new production houses compete to produce more and more film with newly acquired digital filmmaking means.

Despite this transformation, commercial filmmaking does not change much. Aside from genre focus, the commercial filmmaking uses conventional production-distribution-exhibition pattern as implemented in Hollywood film industry. This production uses star system, relatively high budget and high number of film crews as the ‘industry’ works with detail and specialized division of labor. In term of capitalization, the average budget of Indonesian film production is less than US$500,000, with the highest production cost such as for patriotic film ‘Merah Putih’ (Freedom Trilogy) is US$7 million and the lowest is for the horror and sexploitation film with US$100,000. Compared to Hollywood, this budget is almost nothing . However, feature film production still perceives Hollywood film industry as an ideal example. If the Hollywood system has studio to produce the film, Indonesia has production house that functions like Hollywood studio. Nevertheless, production house in Indonesia does not only produce movies but also acts as distributor of the film. As New Order wiped out the distribution system and gave almost dominant position to Cineplex 21 in 1986, production house has to deal directly with theatre/home video/television owners to screen/sell their movies.

But what distinguishes it from the New Order period is the increasing diversity of types of movies offered. One that stands out is the presence of Islamic film. In 2004, MD Pictures financed the production of film ‘Ayat-ayat Cinta’ (Verses of Love) whose reputation established what so-called Islamic cinema. This coin, termed mostly by press and audience, become new vocabulary to name films that produced in the framework of ‘dakwah’ (delivering Islamic message/teaching) . Shot in Egypt, the film delivers new story of post-1998 Indonesian Muslim middle class. ‘Ayat-Ayat Cinta’ soon is followed by films, such as ‘Ketika Cinta Bertasbih’ (Chaerul Umam, 2009, produced by Sinemart), Doa yang Mengancam (Aditya Gumay, 2008) and Perempuan Berkalung Sorban (Hanung Bramantyo,2008), etc.

In 2008, Haidar Bagir, a Harvard graduate who owns big publishing company, set up Mizan production. With Miles production, they produced ‘Laskar Pelangi’ (Rainbow Warrior, Riri Riza, 2008), the biggest Indonesian box-office film of all time. In the following year, Mizan produced film such as ‘Garuda di Dadaku ‘(2009), ‘Emak Ingin Naik Haji’ (2008), ‘3 Hati 2 Dunia 1 Cinta’ (2009), and ‘Rindu Purnama’ (2010). Unlike ‘Ayat-Ayat Cinta’ and ‘Ketika Cinta Bertasbih’ with its polygamy subtext, Mizan’s films are signified by more ‘general’ Islamic tone. Most of their films put the struggle of everyday life of Muslim as a narrative. Poverty, love between Muslim and Christian are addressed, differing itself from ‘mainstream Islamic movies’ whose story typically departs from more conservative Islamic teaching, particularly on how to find the right (Muslim) partner and how to maintain [Islamic] piety.

As Haidar Bagir said,

“Mizan itu didirikan bukan hanya sekadar bisnis tetapi juga saran dakwah, bukan dalam arti sempit. Dakwah itu artinya memperbaiki keadaan. Bagi saya berdakwah itu artinya sebagai muslim ikut memperbaiki kondisi lingkungan di mana pun kita hidup dan dalam hal apa pun. Kami merasa bahwa dakwah perlu diperluas ke media film dan televisi. Dampak dan jangkauan media au- diovisual itu lebih l uas. Bioskop, film, dan televisi itu dampaknya langsung ke masyarakat umum..”

[Mizan was founded not just for getting profit but also for dakwah, but not in the strict sense. ‘Dakwah’ means to improve the situation. For me as a Muslim, dakwah means to improve the conditions wherever we live and in any case. We feel that the mission should be expanded into film and television. Audiovisual has strong outreach…its impact is directly to the public. "]

A ‘new consciousness’ to establish Islamic identity such as Haidar Bagir’s is not unusual in Indonesia post-1998. As the following chapter will talk, the contestation of ethnic, national or global identities are becoming central in film production in Indonesia.

Local and Global: The case of Indonesian grass root video activism
In 2006, four hundreds kilometers from Jakarta, in a small town surrounded by rice fields and forest, named Purbalingga (Central Java), a community called Cinema Lovers Community run the first Purbalingga film festival. The Festival screens local films that are film made by filmmakers live in Banyumas. The region covers four small towns: Purbalingga, Purwokerto, Cilacap, Banjarnegara in Central Java with language unity that is Javanese with particular Banyumas accent. Organized annually, Purbalingga Film Festival benefits from the proliferation of video activism and community-based filmmaking in the region and in Indonesia as a whole. The festival divides its program, into screening and non-screening program, which consist of competition (documentary and short fiction for high school student in Banyumas, wedding video competition), non-competition (regular screening, outdoor screening), discussion, forum, workshop, etc.

As Haidar Bagir for Muslim identity, Purbalingga film festival becomes a platform for local film with local content/story/narrative, local language, lo-fi aesthetic and to cater particularly local audience through local exhibition channel (via layar tancap/mobile cinema).

As said by Bowo Leksono , founder of Purbalingga film festival, the festival started with 30 locally produced film. Asked why he chose film, he said that other [read: traditional] art forms are dead, means: film is the only art form that is still functional for society. For Bowo Leksono and Purbalingga’s communities, art should function to deliver criticism, comments of daily lives, and to talk about social problems. That’s why; film is not an artistic medium an sich, but a medium for social change.

In almost similar manner, collective Forum Lenteng works in the urban area in Jakarta. Founded in 2003 by young activists and video makers (mostly born after 1980), Forum Lenteng produces documentary/non-narrative/experimental with local content/ story/narrative. However, the film mostly uses bahasa Indonesia (national language) with strong reference to global/national visual language. Despite its lo-fi aesthetic, the video produced is equipped with awareness to speak with international & national audience. Forum Lenteng builds strong network with local-based filmmaking community, from area such as West Sumatra, West Java, Central and East Java, and Lombok and organize screening and exhibition in film framework as well as visual art framework.

The emergence of film community and organization like Festival Film Purbalingga and Forum Lenteng are the result of the democratization process in post-Soeharto era and the needs of individual and group to freely express themselves through audiovisual media. Freed from authoritarian pressure, Indonesian subjects celebrates the newly gained freedom by building networks of film makers that later on make up of what so called ‘komunitas film’ (film communities). Through film festival, screening, workshop and other means, these communities of filmmakers meet, share and express their aspiration and their desire to be visible .

Most of these communities share the faith that film can be powerful medium to change the situation. Video activist as follow, best expresses this tendency as he said:
“We believe that audiovisual medium can be a departure point to develop our critical questions. Questions regarding political, social and cultural issues which contribute to our creative process. Also our awareness to technology and media that actually can function socially and culturally, that is to produce our OWN truth, reality and history, from the independent initiative.” (Hafiz, 2007) In this case, commercial visibility is not their aims as changing the situation is far more important than commercial goals.

Global and Local: Art Cinema of Edwin
Long before the reform, Garin Nugroho has screened his film outside Indonesia (his first festival was Rotterdam Film Festival in 1995). Garin Nugroho will always be an international programmer’s favorite. His films have been screened in international film festival circuit but not in the domestic market. But then, his reputation now is competed by new talent, Edwin. Following the new trend of global art cinema, Edwin is new star in Rotterdam as Aphichatpong Weerasathakul for Cannes. His feature debut, ‘Babi Buta Yang Ingin Terbang’ (Blind Pig Who Wants to Fly) is produced by Babibutafilm and Neon Productions, a France-based production company and distributed by Filmmuseum Distributie and Global Film Initiative. Hubert Bals Fund and Global Film Initiative funded the film, an illustration of the quick internationalization of film production.

In global discourse, art cinema has established itself as an institution, which is characterized by “overtly artistic textuality, art house theater exhibition and the international circulation of foreign film” . The production of art cinema is centered on European and American critical and industrial infrastructure, particularly film festival.
Edwin, almost singlehandedly maintains his continual presence in international festival circuit since 2003. His short films have been screened in prominent festival such as Rotterdam Film Festival (The Netherlands, since 2003), Clermont Ferrand Film Festival (France) and Cannes Film Festival (France). His second feature, ‘Postcard from the Zoo’ received funding from Torino Film Lab (worth 110,000 euro), Hubert Bals Funds, and Sundance Screenwriters Lab with producers from Indonesia, Hongkong and Germany. The film will be released in 2011/2012.

As Garin Nugroho whose films are poorly received in domestic market, ‘Blind Pig Who Wants to Fly’ did not get domestic theatrical release as well as home video release. His contemporaries, with few exceptions such as Tintin Wulia and Hafiz (whose practice is alternating between film scene and art world), find it hard to get international attention as well as domestic commercial pad . Edwin and his contemporaries are in tension with commercial production, however, they don’t have another platform for their practice. The not-so-new platform for young filmmaker is in between commercial and art-house cinema production. This is marked by the popularization of anthology/omnibus genre. This kind of initiative is usually self-funded, but for the case such as Project Change, the omnibus is funded by foreign donor, particularly Ford Foundation and Hivos. Notwithstanding, both share similar characteristic, that is: it has non-commercial distribution and circulates in international festival circuit. Some examples could be presented such as ‘Kuldesak’ (1997), which signified Indonesian new wave, ‘9808’ (2008), which addresses 1998 remembrance, ‘Belkibolang’ (2010), ‘At Stake’ and ‘Working Girls’ (2008 &2010, with producer Nia Dinata) which addresses women’s rights. Filmmakers who join these anthologies usually have been prominent in short film scene, but have not produced their first feature (except Lucky Kuswandi and Ifa Isfansyah).
As the film industry centers around few ‘idealist’ producers and genre-based production houses, the new talents aims for new platform. Most of them have been working with ‘idealist’ producers but still find it hard for them to produce their own film with this producer. In the near future, some young filmmakers plan to launch their own financing mechanism to tackle this problem.

Concluding Remarks

This description of Indonesian film production can’t discuss the extent on the use of technology and cinema apparatus to produce visual imaginaries. The limit of contemporary visual production is boundless. As ‘conventional’ understanding of cinema could not address this complexity, it’s important to underline how visual is used as a tactic for those who do not control dominant means of narrative production.

Commercial filmmaking still struggles with its lack of capitalization and infrastructure, other strands of filmmaking survive and might bring more interesting discussion. As this paper has tried to map out, there are at least three types of ideological position available: those who are driven by profit motive, those who work to raise critical awareness by using film medium, and those who put formalist and aesthetic weight and therefore are more absorbed in international film festival circuit. This, we believe, will change in the near future. More cross-practices might be happening and it will stimulate more interesting discussion and conversation. ***

Post from Yogyakarta: La flâneur indéterminée

2011-04-19T20:36:00.000-07:00

I am flying from Honolulu to Tokyo to Singapore to Jakarta to Yogyakarta for meetings. Well, Yogyakarta is like tons of memory. Heaps of stories that always reminds me about the passing past. I am here with my friend, David Teh to prepare a mini-conference on video in Indonesia (and Southeast Asia). David has been in contact with Video Vortex and I believe that this project is part of their initiative to travel their annual-organised conference.

This project basically aims to map out the explosion of video practices and organizations since the arrival of affordable platforms for production and distribution of video in Indonesia. Topic such as ground-up networks devoted to art and digital culture, social activism and participatory media will be surveyed as well questions of technical, social and aesthetic strategies for a politics of video, actors who play significant role in the scene and why and what histories have shaped the medium, that have yet to be written into the discussion. We will work with organization like House of Natural Fiber, Kunci Cultural Studies, IVAA, Kedai Kebun Forum as well as core group from Jakarta, Ruangrupa and Forum Lenteng.

In the first day, straight from the airport, we met Farah Wardani and Pitra Hutomo from IVAA to talk about one curated video presentation and with Nuning (Nuraini Juliastuti) and Ferdi Thajib from Kunci to talk about publication and the formal session. It was good wrap up meeting, though it was raining outside (this city is damn hot and cold in the same time!!!). What impress me is that I can ..kind of..do an anthropological studies to this people in the art world. Mean, it's great to hear their stories, speech and everything they know and store it in the cabinet of wonders. My knowledge of Indonesian situation, I am afraid, is not particularly good. Traveling a lot makes my mind numb. I don't really know and care where I am. The most difficult thing faced by post-capitalist traveler is being lost in the thousands sights of highway, airport, immigration office, and duty free shops. The absence of engagement and relation. I am little bit dramatic here, but that's what I feel. Hearing stories about this country (or at least, this country's art scene, its intrigue and gossips) makes me think that the most interesting about all this is the people. Those who do something, those who say something.

Wow, this is a rant obviously. I can write more and more continuously. Just to take note on the project, I would like to recommend you to read very interesting book which can be downloaded here.. There are some interesting discussion on Indonesian video scene. A must read!

Post from Honolulu

2011-04-05T02:16:00.001-07:00

I have been here in Honolulu, Hawaii for a week. This is quite a busy period in US academic world as Association of Asian Studies and International Convention of Asia Scholars held their annual conference here. Me and some friends from Indonesia (Ekky Imanjaya, Puput Kuspudjiati, Nayla Majestya) and Intan Paramaditha (fly from New York) are invited by Center for Southeast Asian Studies in University of Hawaii. We had a panel and a round table discussion in AAS meeting, as well as other event in Honolulu Academy of Arts and University of Hawaii. It has been exhausting week. I run here and there to catch some presentations in AAS. I already twitted but I might make a wrap up in this coming week.

TV Numero Uno

2011-03-24T21:58:00.000-07:00

I just wrote an article about Indonesian television news reporting on Japanese (and any other) disaster. Link is available here. My friend, Christian Razukas edited it well. Here is the article:

Dramatizing the debacle: Indonesian television and disaster reporting
Veronika Kusumaryati, Jakarta | Wed, 03/23/2011

The way Indonesian television is reporting on the earthquake, tsunami and nuclear emergency in Japan reminds us of the coverage of the tsunami that struck Aceh in 2004.One can easily find a steady stream of news showing the devastating impact of the unfolding calamity in Japan 24 hours a day. Television stations are repeatedly broadcasting footage from the affected areas, featuring images of sweeping tsunamis, devastated homes and victims and sending graphic accounts of the disaster into households across the country. It seems like a Hollywood movie.

Mournful background music adds to the feeling of melancholy as we watch the suffering of the victims. On talk shows, local television stations invited so-called experts and sources who produced a lot of speculation, offering the audience chaotic and often conflicting reports. The exaggerated coverage of the disaster on Indonesian television is a prime example of how the media are scrambling for content to attract a larger audience. Instead of focusing on disaster mitigation by giving correct information, television has opted for a melodramatic presentation.

There is a thin line between the news and entertainment media. Rather than providing the public with information on the emergency response, the media has produced a steady stream of news that has been exploitative. Emotion has been included in recent news reporting, which indicates that conventional journalism has been abandoned. In this particular circumstance, Indonesian television has led the way. Taking many of its methods from popular infotainment media outlets, local Indonesian television news channels depend more on sensationalism than quality reporting. For Jack Fuller, a Pulitzer Prize winner, it has something to do with neuroscience. Living in an information-immersed environment, the human brain will be attracted to “emotionally significant stimuli”, e.g., to sensational news rather than objective coverage.

In Indonesia, newsmakers have combined visual and aural power to produce dramatic reporting. Taking video footage and pictures from NHK, CNN and other international television networks, Indonesian television is broadcasting horrifying imaged of the Japanese tsunami seemingly continuously, as it did during the 2004 Aceh tsunami. Media scholar Susan Moeller offers an explanation as to why reports on horrifying disasters are easily accessible and go global almost instantly.

An event like a tsunami, she said, was telegenic. Or as Chris Bury of ABC News said: “The pictures themselves proved unusually powerful and compelling, giving the disaster an epic, almost Biblical quality.” The use of audio and voice heightens the melodramatic nuances of the coverage by adding suitable music and also by recording witness and survivor accounts to personalize reportage.By repeating those powerful images (and sounds) in a constant manner, 24 hours a day, Indonesian televisions are building a narrative of the disaster — not as news but as a movie.

In this context, the victims’ pain only has value if it fascinates or overwhelms the audience. This kind of reporting might benefit relief services or emergency response organizations; pictures of victims easily attract sympathy and donations. However, the melodramatic tone of the reporting frequently obscures the “vérité” nature of the reporting and prevents viewers from understanding the event holistically. Like infotainment, television news reporting tends to locate the disaster not in a critical conversation about the environment or early warning technology but by evoking the fate of humankind.

This has led to a debate about the moral dimension of the disaster — a popular topic in Indonesian right-wing blogosphere and social networks. In its broadcast of the breaking news, TVOne, for example, called the audience’s attention to the fate of Japanese people, presenting the disaster as an act of God that even a developed country cannot withstand.
By presenting this message, television failed to provide viewers with a critical view of what was really happening and how one might survive in a similar situation.

This moral judgment, strongly held by Indonesian television, is not only because of their lack of perspective but also because TV stations are locked into their business models. They reduce disaster stories to a commodity therefore it is okay to exploit it is driven by consumer demand. As Indonesian television competes with the expanding role of the Internet in reporting disasters, it is unlikely that the medium will support emergency relief, let alone recovery programs. ***

[this observation is made particularly for TV One (I refer it as TV Numero Uno) owned by Bakrie family]

The State of Things

2011-03-14T01:55:00.000-07:00

I apologize for not having enough time to write here. It has been a difficult and busy months. I try to write some papers and finish the other one. In short, it takes me so much time to sit and log in this blog. A lot of things happened, such as revolution in Tunis, Egypt and other Arab world. As anywhere in the world, I believe, in Indonesia, there is an interesting discussion about the role of internet to spark revolution in the region.

Indonesian president just experienced his first attack over Wikileaks' report on his abused power. Sidney Morning Herald and< the Age are to blame. Few weeks before, his spoke person, Dipo Alam said that the administration will pull any government's advertisement in Media Group due to its critical editorial to recent government. Ahmadiyah is still prosecuted across Indonesia, showing how the government fails to protect its own citizen.

News from the film scene. Indonesian cinema has been experiencing one of the most lively debate about the Hollywood film. Starting on 17 February, the Motion Picture Association of America quitted distributing and showing their film in Indonesian cinema on a reason that a levy of 20 % from gross revenue (cents per meter of film imported) imposed by government will not longer profit them. MPA is claimed to oppose the newly imposed tax (Tax directorate letter No. SE-3/PJ/2011 on additional revenue tax for imported film) . For the time being, imported film have been subjected to multi-taxes that reaches almost to 23.75% (excise duty), beside 10-15% of local tax (pajak tontonan) which depends on each region. If the government adds another 20%, then the business is not viable anymore. So the analysts said.

Indonesian film community is quickly divided into pro and con. Some Indonesian filmmakers and public react angrily stating that this country is going back to the dark ages where foreign film is banned. Another filmmakers are saying that the halt of Hollywood is the end of its domination toward cinema screen in Indonesia. With their nationalist rhetoric, those filmmakers see this as opportunity for Indonesian filmmakers to grab their domestic market. (See the conversation here and more round up here and The Jakarta Post's coverage here).

As I keep visiting theatre and find it rather quiet, I am sure that the discontinuation of Hollywood film will be harmful for local cinema industry. However, I rather point out that the local player, instead of Hollywood harms the local industry. Many sources said that it's not Hollywood that is forced to pay taxes, but it's the Cineplex 21 who failed to pay their obligatory taxes since 1995!! Cineplex 21 who holds almost a monopolistic position for more than ten years have involved in the tax bribe, making the government losing million dollars of potential revenue. This version has more rationale then any other arguments since I believe, Hollywood does not want to lose its potential dollars by quitting their distribution in Indonesia.

The conversation, actually is becoming more confusing as the tax bribe involves government officials and cinema industry and there is no clarification from both parties how to settle this conflict. As for Indonesian filmmakers, this conflict, once again, has only gave a really bad impact. This proceeding encourages the un-expected government's intervention which is not productive for the film industry. The Ministry of Culture recently released a statement that they will use the money from Hollywood film tax, for the sake of local film industry, that is to build Indonesian film center and to finance patriotic Indonesian films which in my opinion, will be a TOTAL DISASTER!

Why?
1. Government will only corrupt the money
2. We don't need Indonesian film center
3. They have to finance the Sinematek, instead of building a new one
4. We have enough patriotic, moralistic films.

I am little bit angry with this. But yes, I still go and watch Indonesian movie in cinema. Writing about them once a week. I am just afraid that in the future, Indonesia might lose its prolific industry and its critical sense.

By the way, I will move to Boston this July. Sounds like a good news!

The West Used To Be Non-Exist

2011-02-13T04:44:00.000-08:00

I took some pictures from the exhibition "Multimedia Arts in Indonesia", curated by Hendro Wiyanto. The exhibition was part of #Decompression, an anniversary exhibition by collective ruangrupa, 7-27 January 2011 in Galeri Cipta II, Taman Ismail Marzuki. This ambitious exhibition presented encompassing works from Indonesian major artists, such as House of Natural Fiber, Krisna Murti, Jompet, Agus Suwage, Performance Fucktory, Tintin Wulia, Ade Darmawan, Hafiz, and some other artists. The exhibition itself tried to address how [new] media technology is being used by artists in the last ten years in Indonesia. How do artists address the new development of art medium? Does new medium mean 'new aesthetic'?

My friend, an Australian curator working in Singapore commented that the exhibition is interesting in a way that this 'new medium' discourse is put in the old and almost devastated art gallery whose fragrant reminds us the dying bureaucratic institutionalization of New Order arts. The works itself might engage curator and art historian on the new conversation of Indonesian multimedia scene. I am interested to some works which in some ways, convey the complexities of art and modern art in this part of the world. Some archive-based works, such those of Performance Fucktory is a nice challenge for art historian to map this expression back to 1998. The legacy of 1950s heating debate on modernism should be interesting to be reflected. In this term, I would like to mention Hafiz's work. He used Jakarta Arts Council's archive, that's a recording of 1960s and 1970s discussion of figures such as Sudjojono and alike. The artwork itself might not too striking but the archive itself should be enough to invite some critical articles. I imagine that we should open up (again) conversation about the existence of modern art in a place like Indonesia where the pursuit of national character of its visual art still dominates conversation.
I would say that Tintin Wulia's work, Microhistory of Wanton is quite beautiful piece while Jompet's work keeps insisting on the legacy of Dutch colonialism (which I will discuss further next time). Some other works are interesting too, but without catalogue in hand, I would like to keep this note on my memory locker. Should write some stuff later.

On Vacation

2011-02-04T21:16:00.000-08:00

I am off for vacation from January 26-8 February 2011. Will come back to kick!

Djakarta 1966: Soekarno was everything Soeharto was not

2011-01-03T09:55:00.000-08:00

Photo credit: Pengkhianatan G-30-S PKI, Arifin C Noer's most prominent film

After seeing a bad movie, Djakarta 66 is kind of revelation. History, by any definition is written by the ruler, however, time is always the winner.

Djakarta 66 was made by Arifin C Noer in 1988 (JB Kristanto's version is 1982, however the credit in the film states 1988 which is more reliable, I guess), telling a [his]tory about the controversial Supersemar. Kineforum screens the film today and 9 January 2011 as part of the #decompression programme, an anniversary celebration by collective ruangrupa. Lisabona Rahman with filmmaker, Anggun Priambodo work hand in hand to curate a film programme about Jakarta. With my usual gang, we were watching the 35mm format with mixed feeling. I found the film funny yet brave. Another found it great and amusing. Djakarta 66 is the third of New Order (or rather, Soeharto's trilogy). The first film is Serangan Fajar, made in 1981, followed by notorious Pengkhianatan G-30-S PKI in 1982.

Djakarta 66 focuses on the political events after the failed coup d'etat by allegedly Indonesian communist party. Jakarta streets were full of students' demonstrations. Universitas Indonesia as main camp of student organisations such as KAMI sent thousands of their students to Bogor Palace and Presidential Palace to demand Tritura (those are three public's demand: ban Indonesian communist party, reform the cabinet, and reduce the price?!). Soekarno was forced to sign the Supersemar document (or wasn't it?). On March 11, 1966, Soekarno might (or might not) sign a letter giving the Army commander Lt. Gen.Suharto authority to take whatever measures he "deemed necessary" to restore order to the chaotic situation during the Indonesian killings of 1965–66.

Some might think that Arifin C Noer worked as a propaganda film specialist. His film, Pengkhianatan G-30-S PKI (my friend, Nayla, discusses this film extensively in her thesis) frequently is read as a propaganda text. But modern eyes reveal a contradictory account. As for Djakarta 66, I feel that our reading on Arifin C Noer's film should be extended radically. Djakarta 66 is 135 minutes long film, with almost one hour of its original version was cut by authority for reason of provoking new radicalism to students. Written by Bur Rasuanto (who had opportunity to read Cornell paper prior of writing the script) and Arifin C Noer himself, the movie presents critical version of 1966 Supersemar.

The key feature of Noer's work is his distinctive approach to historical genre and Indonesian critical history, in addition to his mastery over visual/cinematic languages. His Pengkhianatan is not only ghost in Indonesian political history, but also the ghost for Indonesian cinema as a few cineaste can go beyond his ouvre. His Djakarta 66 goes further as his cinematic and technical quality will make contemporary films look lame.

Working with unlimited budget (but super tight supervision by Soeharto himself), Djakarta 66 is surprisingly a challenging text for New Order History. Portraying the crisis in the Soekarno administration and the conflict inside the 1966 student movement, the film shows Soeharto as a poor social climber whose speech reminds me of current Indonesian president. Soekarno, on the other hand is portrayed very strong and impressive, giving very convincing version of the 1966 'coup d'etat'. Thus, Djakarta 66 is important text, non only in the context of its narrative as a historical document, but how the 1966 is understood by Indonesian community, but most importantly, I think is how Arifin C Noer as a filmmaker inserted his personal vision of history and cinema in his 'film pesanan' (customised film, made by New Order's order and money).

If one reads it against the grain, Djakarta 1966 is a mocking text, showing Soeharto as you-know-who: a Javanese military with hidden agenda in his back. He worked very hard (too hard) to be in power --with his limited resources and intelligence. Young filmmakers should learn from him: historia magistra vitae, history is the teacher of life.

More about Supersemar, click here.
More about 1965 Indonesia, click here.
Information about Arifin C Noer and his works are available here.

(Thanks to Lisabona Rahman and Anggun Priambodo that made this writing possible)

Post Notice: Decompression #10

2010-12-25T06:43:00.000-08:00

Thirty-seven shades of artificial lighting beam over tainted concrete floor. Ephemeral space, soon to be filled with another radiant energy. "Let me climb up, at least, up to the high balconies; "As Frederico Garcia Lorca wrote in 1920s, I would like to climb this tantamount files and those boring and blurry video images. As with me, this statement sounds rather self-centres and melancholic considering tenth of people in the collective called 'ruangrupa' is preparing their 10th anniversaries --sleepless.

Established in December ten years ago, ruangrupa should be named as the most active art space in Jakarta. Their activities encompass various disciplines of visual arts. Picking 'Decompression#10" as their headline, ruangrupa will indulge Jakarta public with tons of events and exhibitions, concerts, seminars, lecture, etc. Highlights include:

1. Ruru & Friends: an exhibition that wishes to map ruangrupa's artistic practice in the last ten years, involving ruangrupa's artists as well as international artists. Curated by Agung Hujatnikajennong. Indonesian artists are Indra Ameng, Anggun Priambodo, Tintin Wulia, Taring Padi, Tisna Sanjaya, among others. Sebastian Diaz Morales, an established Argentinian/Amsterdam-based video artist, 2009 Guggenheim fellow, Oliver Husain,a curator's darling at Oberhausen Film Festival, a French film/video artist, Jean-Gabriel Périot will present their new works.

2. ruru.zip
Collaborating with Indonesian Visual Arts Archive, ruru.zip is an exhibition of ruangrupa's archive, encompassing catalogues, memorabilia, publication and another materials.

3. ruru.net
The exhibition will highlight the partnership and collaboration carried out by ruangrupa and at least 25 arts organisations in Indonesia as well as outside Indonesia.

4. Multimedia Arts in Indonesia
If anybody wishes to understand what it does mean by multimedia arts, curator Hendro Wiyanto selects a number of Indonesian video artists/collective to present their new work in the first-of-its-kind exhibition in Indonesia, outside Ok.Video festival.

5. Jakarta 32 C
The bi-annual art student forum will gather more than 30 works from students across Jakarta.

6. Book/Doc launching:
a. Initiative: Containing more than 30 essays and interviews, the book will address the development of art collective and artistic practice in post-1998 Indonesia.

b. Alternative Space and Network
A documentary about alternative space and art collective in Indonesia post-Soeharto.

c. 10 Years of Indonesian Video Art Compilation
First initiative to chart and map the video art scene in Indonesia.

6. Various seminars, addressing topic such as visual archive, visual art organisation, art and activism, subculture, etc

7. Ruru.mov
Film screening programmes, in collaboration with National Gallery and Kineforum

8. Rrrect Fest:Ruangrupa Music Festival
24 bands participates in this gigantic initiative.

As for myself, I will take part in this celebration, by speaking about video art with Oliver Husain on 30 December 2010 and moderating Jean-Gabriel Périot at Jakarta Arts Institute on Thursday, 6 January 2010. Expect detail report in the following weeks!

More info is here. Blog by Sebastian Diaz Morales is here.

Update: Jogja Asian Netpac Film Festival (JAFF) is On

2010-12-23T11:47:00.000-08:00

Good news from Yogyakarta. This student-populated town will hold their 5th Jogja Asian Netpac Film Festival on 26-30 December 2010 with 40 films come from across the continent. The festival will be opened by Iranian film, Tehran Without Permission. Maintaining its existing sections, JAFF has moved its date from August to December, provoking early speculation on the cancellation of the festival. But despite the reduction of the festival's budget and similar financial difficulties by another film festival, JAFF keeps presenting distinct programming such as their particular focus on Asian (art house) cinema and short films. Some lectures on new media and Indonesian post-cinema (?) are also confirmed. More info is here.

Post from Dubai

2010-12-14T19:27:00.000-08:00

The glimmering tower of Burj Al Arab shines in the cold foggy morning. The sea is blue, the palm trees is everywhere. I think there are more roads and skyscrapers in Dubai than human being. It's impressive though. I will be here until 20th December for Dubai international Film Festival. Report and picture will follow.

Update: Helmrich takes two award at IDFA, The Dreamers won Best Film in Spain

2010-11-30T07:57:00.000-08:00

Some updates from film festival circuit.

"Position among the Stars", a documentary by prominent Dutch-Indonesian filmmaker, Leonard Retel Helmrich took two prestigious award in recent International Documentary Festival Amsterdam (17-28 November 2010). The third from trilogy about Sjamsuddin family is the first double winner of the prestigious VPRO IDFA award for feature-length documentary. It picked the Dioraphte IDFA Award for Dutch Documentary and Best Feature-Length Documentary, following its 2004 release "The Shape of the Moon" winner in 2004 IDFA. The film competed with another documentary hits, such as "Wasteland" and "You don't like the truth:4 Days inside Guantanamo" by director, Luc Cote and Patricio Herniquez.

"Position among the Stars" was shot by Helmrich in Indonesia in the last two years, working together with his long time counterpart and cinematographer, Ismail Fahmi Lubish. The film will be screened in 2011 Sundance Film Festival for its script was developed under Sundance Documentary Lab. More info about "Position among the Stars" can be found here, here and here. Indiewire coverage is here.

"The Dreamers", a film by Riri Riza won another award in International Children and Youth Film Festival in Madrid, Spain. The award for best teenage film was received by Lukman Sardi on 20 November 2010. More info is here.

Third update comes from Ifa Isfansyah whose debut, "Garuda di Dadaku" competed in 6th Int'l Film Festival for Children & Youth Armenia. The film picked best feature film in the festival, marking the first Indonesian film received such warm welcome in the region. More info is here.

First time documentary filmmaker, Daniel Rudi Haryanto will compete in next Dubai International Film Festival (to be held in Dubai, 12-19 December 2010) with film "Prison and Paradise". The suicide bombers' film is selected for Muhr Asia and Africa programme, being the first Indonesian documentary screened in Arab region. More info can be seen in Dubai international Film Festival and here.

JiFFest is On, Audience Waits for Uncle Boonmee

2010-11-29T23:00:00.000-08:00

Nokia finally saves JiFFest by sponsoring the near-dying festival this year. 12th edition of JiFFest is being held from 25 November to 5 December 2010 in Blitz Megaplex Pacific Place, Binus Film School and Kineforum. Presenting less films than previous year, JiFFest's open with a documentary, 'Waiting for "Superman"'by Davis Guggenheim, highlighting documentary-heavy premiere in this edition. Beside keeping existing section (World Cinema, 20 films, six are documentaries), the festival also focuses on Southeast Asia cinema by presenting A View from the SEA section (nine films), annual S-Express section, international shorts, and Indonesian Feature Film Competition.

This year, special premiere which previously was always dominated by feature film, switches into short and documentary film's celebration. The films include "Belkibolang", a compilation of short films by nine young Indonesian directors, Edwin, Tumpal Tampubolon, Anggun Priambodo, to name a few, "Di Ujung Jalan" by director Tony Trimarsanto about migrant workers' families in Flores, "Hiphopdiningrat" by Muhammad Marzuki and Chandra Hutagaol, telling a story of Javanese hip hop scene in Yogyakarta, "Jakarta Maghrib", a film by prominent scriptwriter, Salman Aristo, "Kickstart-Palu", a compilation of three short documentaries made by beginner in Palu, Sulawesi dan a compilation of short documentaries by producer Nia Dinata and directors such as Yoseph Anggi, Sammaria Simanjuntak, Daud Sumolang and Nazyra, "Working Girls".

Eight local films compete in the 5th edition of the Indonesian Feature Film Competition, adjudicated by a jury consisting of producers Gabrielle Kelly, Nguyen Thi Bao Mai and Jo Ji-hoon. Competing films include Aditya Gumay's debut "Emak Ingin Naik Haji", Riri Riza's drama "Sang Pemimpi", Hanung Bramantyo's most recent religious epic, "Sang Pencerah" and slasher film, "Rumah Dara" by The Mo Brothers. The competition also includes the latest features from Benni Setiawan, Deddy Mizwar, Lola Amaria and Ari Sihasale, directors whose previous films have competed at earlier editions of the festival.

Among the highlight of the SEA section is recent Palm D'Or winner, "Uncle Boonmee Who Can Recall His Past Lives" whose screening was cancelled on 26 and 29 November without any clear reason. Audience is still waiting whether the only screening of this film on 3 December will run as scheduled. The cancellation is not only for Uncle Boonmee's screenings, some other screenings were also cancelled or being changed. Disappointment is also expressed for the organiser, not only for its limited number of films being screened, but also for the programming, and the venue choice since Blitz Megaplex in Pacific Place is small theater, having capacity less than 200 seats each.

So far, JiFFest seems getting less audience than last year, expressing somber mood of festival time in Jakarta. The festival will be closed by film "Biutiful", a recent installment by Alejandro Gonzalez Inarritu, which will be released in Blitz Megaplex soon.

JiFFest's official website: click here.

FFI: Festival as A State's Deception?

2010-11-17T07:00:00.000-08:00

Festival Film Indonesia (official Indonesian Film Festival), once again, sparked a controversy. A few days ago, media reported that the Selection Committee at the festival has picked 10 films to be nominated for Citra awards. Antara wrote that this year, the festival received 54 feature films to be selected for first phase of the selection process. The result will be announced in Batam (wtf?) on 28 November 2010 while the second or final phase will be announced on 6 December 2010 in the capital. But the schedule was violated as the Committee already published the first selection's result during the press conference, 12 November 2010.

Detikhot and Antara wrote that ten films on the selection are:
1. 3 Hati 3 Dunia 1 Cinta (director: Benny Setiawan, production company: PT Mizan Production)
2. 7 Hati 7 Cinta 7 Wanita (director: Robby E Soediskam, production company: PT Anak Negeri Film)
3. Alangkah Lucunya Negeri Ini (director:Deddy Mizwar, production company: PT Demi Gisela Citra Sinema)
4. Cinta 2 Hati-Dilema (director: Benni Setiawan, production company: Wanna Be Pictures)
5. Heartbreak.Com (director: Affandi Abdul Rahman, production company: PT Nismayati Production)
6. Hari Untuk Amanda (director: Angga Dwimas Sasongko, production company: PT MNC Pictures)
7. I Know What You Did on Facebook (director: Awi Suryadi, production company: PT Pundimas Mahakarya Sejahtera)
8. Minggu Pagi di Victoria Park (director: Lola Amaria, production company: PT Lantip Binathoro Panuluh)
9. Red Cobex (director: Upi, production company: PT Kharisma Starvision Plus)
10. Sehidup (Tak) Semati (director: Iqbal Rais, production company:PT Millenium Visitama Film)

So what's at stake? Internet users are quick to point (and question) why some of 'the best films' of the year were not on the list. This includes film "Tanah Air Beta" (director: Arie Sihasale, production company: Alinea Pictures) or Sang Pemimpi (director: Riri Riza, production company: Miles Films) and the blockbuster in 2010, Sang Pencerah (director: Hanung Bramantyo, production company: MVP)? Alinea Pictures soon confirmed that they did not submit their film for FFI and Miles, following their initial stance against FFI since 2006, never goes to FFI again, so the problem now is with Sang Pencerah.

Then what's wrong with Sang Pencerah? Viva Westi as chairwoman for the Committee Selection stated that Sang Pencerah..."unfortunately ends up only in portraying the important events experienced by Ahmad Dahlan" Kompas reported. "Sang Pencerah is not able to present vision and new interpretation of a complex character of Ahman Dahlan who lived in particular historical and political context...". Abduh Aziz, member of the jury and prominent member of Jakarta Arts Council added that as a historical film, many events are left unrevealed. "The film could not fulfill its obligation as an integral piece of art. The director missed many historical facts."

This statement, albeit released by the one who in 2006 signed a petition against FFI, is very much debated. Many expressed their disappointment over juries' choice. The problem is not only covering 'aesthetic' standard, but also credibility. Since 2006, when FFI selected Ekskul (director: Nayato Fio Nuala) as their winner, its glittering tower has been decreasing. As the only festival fully funded by the government, FFI is also seen as the symbol of older generation (then New Order) power. The case of Sang Pencerah once again, invites discussion on how a festival keeps their artistic standard but also on how the government should work with film people. Some questions arose as: why Sang Pencerah did not deserve to be selected? What makes Heartbreak.com better than Sang Pencerah? Why film like I Know What You Did on Facebook deserves enough to have an award and not film with excellent production design such as Sang Pencerah? What's behind this decision? Should Abduh Aziz who is a History department graduate say better on Sang Pencerah?

The funniest thing is of course, recent release by FFI board that their press conference and statement should be forgotten because it's a mistake. What a joke!

My own opinion: Actually FFI is a kind of official event that does not really have any connection whatsoever...with actual film industry. However, if somebody should believe it, then the festival should see their own direction. What, why and how the festival can contribute to this dying film industry? Shouldn't they do something useful? And for Sang Pencerah, I am really sorry for the juries. Sang Pencerah is not really excellent in term of storytelling, but its production standard should be appreciated. I think Sang Pencerah should be nominated for one of the best film in 2010. Thanks God, it's on JiFFest Indonesian selection. Thanks God, once again, JiFFest is on.

The Ghost from the Past: 1965 in 40 Years of Silence

2010-10-31T23:17:00.000-07:00

40 Years of Silence:An Indonesian Tragedy, a documentary by American anthropologist and psychologist, Robert Lemelson will be screened at Kineforum, a very beautiful art house cinema located at Taman Ismail Marzuki complex, Jakarta, Wednesday, 3 November 2010. The documentary addresses the traumatic event of 1965 in Indonesia. An alleged coup by Indonesian Communist Party on Sept. 30, 196 triggered an orgy of violence in Indonesia that killed hundreds of thousands, if not millions, of people within a short period that eventually brought Gen. Suharto to power for more than three decades. Hundreds of thousands of people accused as Communists were imprisoned and tortured during this period. Most of the victims were political opponents of the Suharto regime. This action was followed by extermination anyone, and anything closely resembled those Communist or just against the regime. The film shows the stories of four families in Java and Bali, and how this incident not only took lives of million but also left the psychological impact in forms of stress and frustration that affected not only adults but also children. The screening will be followed by discussion with filmmaker. The discussion will explore the psychological anthropology perspective that the director applies in observing the condition of Indonesian society.

ps. I have watched the film a year ago. I would say that it's one of the most powerful images of 1965 Indonesia. The film includes impressive footages and newsreel from National Archive, not to mention the extensive interview with the victims in Klaten, Yogyakarta, and Bali. The interview with Balinese victim, I think, is the strongest one and poetic. The character successfully overcomes his memory and delivers a very touching visit to his haunted past. I am not particularly keen on how the filmmaker imposes his authorial voice,though, it seems like he's not convinced enough with his subject to tell the story of 1965.

What's in Indonesian Cinema This Week?

2010-10-28T22:36:00.000-07:00

Despite some lowdown Hollywood films being screened this week, the most anticipated Hollywood blockbuster will be screened in the following week, for example, The Social Network. However, during these two weeks there are some Indonesian films are being shown albeit by any definition, are not important film at all. However, I am more and more keen on spotting what's on in Indonesian cinema now since starting last week, I work as detikhot film reviewer. A difficult yet rewarding experience.

As for now, I would like to update my note as follow:

1. The most controversial film of the month should go to "Rintihan Kuntilanak Perawan" (lit. The Groaning of Virgin Kuntilanak).
The film is made by the infamous K2K Production featuring American adult star, Tera Patrick who not only incites moral panic but also invites harsh reaction from moralist group and alike. I have been writing a review about this film . The film is better than KK Dheraj's previous production, however it does not deserve to get attention.

2. The most torturing film in the most horrible day in Jakarta should be Rokkap.
A film by debutant, Bm Joe, Ginanti Rona Tembang Asri and Hendray 'Pay' Arifin is not convincing enough to bring better representation of Batak community on screen. The film is poorly written, made and directed. The film tells a story of a blind Bataknese girl and a metropolitan photographer caught in the middle of existential crisis and it ends up being a melodrama without any emotionally-charged relationship. Such a waste. (My review is available here).

3. Setan Facebook (Facebook Ghost)
Anticipating the Social Network, D'Color Entertainment put Harris Nizam to direct Setan Facebook. The film tells a story of Farah, a 19 years old girl who is obsessed with Facebook. Once while she updates her status (Twitter is not yet invented, maybe), a girl named Mira Anindhita adds her as a friend. She confirms it but later on, after the incident, she gets haunted by mysterious object. One by one, her friends are being killed. What really happen? ( ps. I do not know. Ask the police! However this story has kind of relation with the stories shared by many Indonesian parents recently. Some of their chidren, mostly teenage girls are bing abducted/kidnapped by mysterious men they meet in Facebook.)

4. Satu Jam Saja (Only One Hour)
Back to the 1970s when Badai Pasti Berlalu became the Indonesian cinema phenomenon. The film handles a heavy-handed them of rape and friendship in a melodramatic mode. Andika (Vino G. Bastian), Gadis (Revalina S. Temat) and Hans (Andhika Pratama) are close friend. Andika is granted scholarship to study in Germany, while Hans and Gadis are in Jakarta. In one out of town travel, Hans raped Gadis and he run. Andika decides not to go to Germany, instead. He feels that he should be responsible for the girl. A few years later, Hans comes back and apologizes to Gadis. Gadis is in complicated situation. She's confused of being with Andika or what?

5. Mafia Insyaf whose poster is loathsome enough to be seen
This is another slapstick comedy featuring girls with boob and a man with brain-less love. MACAN POLKADOT is a notorious gang of mafia led by Dewi. Her son, Kendra is supposed to be the next leader, but he should find a wife (for what reason, I don't know). Accidently he meets Selma, a police officer who often disguises herself for spying the crime. Once upon a time, their relationship turns complicated after they already know each other. So from now on, Mr and Mrs Smith are tangled in the difficult thread of court and love.

6. Aku atau Dia
Another love story by middle class Jakarta. The girl is being left by her boyfriend. Another boy comes and saves her. They live happily ever after. Sorry for not being middle class!

Video du Jour: The Wilderness Downtown

2010-10-28T22:11:00.000-07:00

My dear friend, Tika, made my day. She sent a link to Arcade Fire project, titled The Wilderness Downtown. Working with Chrome Experiment and Google (map), the video invites viewers to take part on the multi-interfaces video, using multiple images from Google maps and street view. This video is striking in a way that the readymade images are being used and manipulated and or used for social building network. Unfortunately the video only works with US location. So I try some locations in New York such as Brooklyn and Jackson Heights, Queens. Please try it yourself. I find it cool.

Link of the Week:Komunitas Film (is Alive)

2010-10-25T21:31:00.000-07:00

Komunitas film is one-stop destination for film communities' news, update, agenda and maybe gossips. Independently run by Bayu Bergaswaras and Damar Ardi, Komunitas Film provides information about what the film communities in Indonesia are doing. Might be useful for those who wishes to spot new talents or researcher whose topic is audiovisual activism.

What Indonesian Directors Do These Days?

2010-10-25T09:25:00.000-07:00

I got the impression that the production of Indonesian film will be reduced this year. Some prominent directors, instead of directing movies, prefer to venture into another art form, that's theatre. Joko Anwar is busy preparing his Onrop! Musical these days. His show will be presented in Teater Jakarta, Taman Ismail Marzuki Complex, 13-21 November 2010. The work itself tells a story of Bram, a novelist and an obedient citizen in 2020 Jakarta, is living in peace and won’t even let the woman he loves, a more rebellious and sassy Sari, disturb his comfort zone.
But Bram is then being wrongfully accused for committing a crime against morality and whisked away to Onrop Island, an isolation for all the degenerates and offenders of the society’s high values. Rumored to be a hell on Earth with no sign of humanity, Bram actually learns about the true meaning of love. Soon, Bram returns to Jakarta and becomes a warrior of love in this outrageous, funny satire from writer/director Joko Anwar that will make the audience humming along to the tune of love and tolerance. Sounds like a familiar metaphor, heh?

Not only Joko who goes for musical, Riri Riza and Mira Lesmana will bring their super box-office film, Laskar Pelangi into musical theatre. Working with famous music composer, Erwin Gutawa, Laskar Pelangi the musical will be on show in Teater Jakarta, Taman Ismail Marzuki Complex, 17 December 2010 - 9 January 2011.

Meanwhile, Garin Nugroho who already showed his Opera Jawa in Tropen Museum Amsterdam, will be back with a new installment, titled "Tusuk Konde: Kisah Kontemporer Mengenai Cinta, Kesetiaan, Amarah dan Balas Dendam" (Tusuk Konde: Contemporary Tales on Love, Faith, Angst and Revenge) , the second part of the Opera Jawa trilogy. Having been showed in Zurich and Amsterdam and before going to London and Paris, Garin Nugroho who works with Rahayu Supanggah and Eko Supriyanto, will offer Indonesian audience a view of his work in Solo, 24-25 October 2010, Yogyakarta (Taman Budaya Yogyakarta), on 29 October 2010 and Graha Bakti Budaya, Taman Ismail Marzuki Complex, 4 November 2010. More info is here.

Does this sign the near-dying of Indonesian cinema? ps. Theatrical production is by any comparison, cheaper than making film and there's no censorship for performing arts.

9808 is in Finland

2010-10-22T02:24:00.000-07:00

A compilation of 10 short films to commemorate Indonesian 1998 reform, 9808, will be screened at Lens Political Film and Media Art Festival, to be held in Helsinki, 3-7 November 2010. Made in 2008, the films in 9808 consist of fictional, documentary, some combinations of both. More programme will be available soon here.

Update:The 8th World Film Festival of Bangkok

2010-10-21T09:44:00.000-07:00

The World Film Festival of Bangkok is held in substitute of the scandalous Bangkok international Film Festival since 2003, despite their first programme has run since 1998. Managed and curated by leading Bangkok English newspaper, The Nation, the festival is still consistent on promoting cinematic art and cinema appreciation in Thailand. In their recent installment, to be held next week, 5 - 14 November, 2010, the festival will take place in Paragon Cineplex and Major Cineplex Sukhumvit (Ekamai) with 150 films from around the world are ready in hand. The films is divided into nine sections with opening night will be given to Thai director, Sivaroj Kongsakul with film Eternity. Kongsakul has been working with famous Thai directors, such as Pen-ek Ratanaruang and Aditya Assarat.

Seeing the programme, we will not see Anocha Suwichakornpong's award winning, Mundane History nor Aphichatpong Weerasatakhul's Cannes winner, Uncle Boonmee Who Can Recall His Past Live. As for Indonesian film, this is another absence since no Indonesian film, long as well as short film is screened in the festival. And honestly, this is quite disappointing (Where are you, Indonesian film industry?). By the way, I wish them a success for the festival. The programmer, however, is my friend. More info on the festival is here.

Update: News from Pusan international Film Festival

2010-10-21T02:28:00.000-07:00

This year is a bad year for Indonesian cinema in Pusan international film festival. No Indonesian film was selected for the festival that is still strong in its Asian programme. However, good news came from Pusan Promotion Plan 2010 that gave Göteborg Film Festival Fund (150,000 SEK) to Extraordinary Me, a project of Mouly SURYA.The Göteborg Film Festival Fund allocates a total sum of 20,000,000 KRW to support 8 to 10 directors/producers of selected projects with their traveling and accommodation expenses. More info is here.

Tumpal Tampubolon was also participating fellow at Asian Film Academy at Pusan international film festival, held on 7-15 October 2010. Should this make Indonesia better next year?

Blind Pig Who Wants to Fly is Available on DVD

2010-10-19T23:54:00.000-07:00

First feature film by Indonesian young talented director, Blind Pig Who Wants to Fly, is available on DVD now, released by International Film Festival Rotterdam. The Tiger releases' is for sale in Benelux region, with price tag: 14.95 euros. However, the country of production is written " China". Meh.

Update: Cambodia international Film Festival

2010-10-19T23:31:00.001-07:00

Good news from another part of the region. Cambodia will launch its first international film festival this year to promote the country’s fledgling film industry. Being held this week (20-24 October 2010), the festival will screen more than 30 feature films and 60 short films from around the world, but Indonesia. With wide arrays of films, including international independent films, award-winning documentaries, classic and modern Khmer films, youth-oriented films and films made in Cambodia, as well as locally produced TV dramas and music videos, festival will present galas, outdoor screenings, and special program. Supported by recently established Cambodian Film Commission and French Agency for Development, festival will also hold industry forum and exhibition.

It seems that we will have more and more competition in Southeast Asian festival scene which is good. I wish JiFFest and Indonesian government can learn from this. More info on CIFF, click here.

Update:Vietnam international Film Festival

2010-10-18T02:24:00.000-07:00

If the festival is dying in Indonesia, there is a new light shed by Vietnamese government this year. The ambitious Vietnam international Film Festival will be held on October 17-21, 2010 in Hanoi. The recent establishment has launched partnership with Pusan International Film Festival and will compete in the region to attract new talents and business people, as well as to showcase the interesting Vietnamese film productions ( I can see the sponsors list is quite outrageous). Like Singapore film festival and I supposed, JiFFest, the festival aims to promote film-makers from South-East Asia and also introduce a cinema-going culture to Vietnam, where box office is starting to grow due to the building of new multiplexes.

First of its kind in Vietnam, the festival invites some international guests and also holds competition in best feature film, best short film, best documentary, best director, best actress, best actor, Netpac awards and the Media Award. Riri Riza will represents Indonesia with two of his recent films, The Dreamers and Drupadi.

I can see the sun shining in Vietnam!

Update: Indonesian Film in Laos, Havana, and Germany

2010-10-17T22:41:00.000-07:00

Asian Hotshot Film Festival in Germany still loves Indonesian films. Some Indonesian major works are screened in the current festival, run in Berlin, Germany, 20-24 October 2010. I am glad to inform you that Identitas, a realist drama set in the gritty Indonesian hospital, is in Competition section. Yosep Anggi's Rotterdam favorite, It's Raining Outside also competes in short film category. While Blind Pig Who Wants to Fly, The Dreamers and The Forbidden Door are selected for Feature Asia section.

Back to Asia, this year, Laos hosts its first film festival in the country, named Luang Prabang Film Festival, to be held on 4-11 December 2010. Indonesian film, The Photograph (Nan T Achnas), At Stake and Love for Share are in the major program with some other films from Southeast Asia.

I recently got some updates from Pak Heru Santoso from Indonesian Embassy in Havana. They successfully screened some 'mainstream' selection from Indonesian film industry in Havana cinema last September. Working together with The Cuban Film Institute, the screening was held in Infanta Movie Theater, between September 16th and the 22nd, 2010.The Festival of Indonesian Cinema has been arranged to coincide with the 50th anniversary of relations between the nation and Cuba and showed a number of titles based on various themes. Rainbow Troops, Love to Share and ad Get Married all prop up the programme, as does Three Wishes, Three Loves by Nurman Hakim. The wrap up is available here.

Some updates on Pusan Film Festival will follow.

Is Film Festival Dead?

2010-10-17T21:24:00.000-07:00

Bad news from the film festival scene. On Thursday, 14 October 2010, Jakarta international Film Festival launched its 'Save JiFFest' campaign aiming to raise funding for its near dying 11th festival edition this year. With less than 100,000USD in their pocket, JiFFest will need another 200,000USD to run the festival. With less and less government funding, not to mention the minimum support from private sponsorship, JiFFest is still thinking about initial plan to hold the festival on 27 November-3 December this year. More info and donation possibilities could be checked here and here and here.

JiFFest does not bring the worst to end. I have not heard anything from Konfiden, Indonesian prominent short film festival. Some unnamed sources tell me that it's likely they won't organise the festival this year, due to ....well, unspecified issues at hand. Let's wait if there is some confirmations about it. They used to have festival in November, which is in next two weeks.

So what's in the row in Indonesian film festival scene? Festival Film Dokumenter (Documentary Film Festival) in Yogyakarta will still hold their festival on 7-11 December 2011, albeit without masterclass programme. Jogja NetPac Asian Film Festival, I heard, will be back on the end of this year, i.e 20 December. More info follows.

I have to mention that some foreign and private institutions still organize their festival, such as Korean Movie Show last week, Cosmopolitan Film Festival (also last week), Europe on Screen (5-12 November 2010), Science Film Festival and Indonesia International Fantastic Film Festival (16-21 November 2010).

I will be back with some updates on film festival scene soon.

Post from London

2010-09-09T00:37:00.000-07:00

I am in London since yesterday for a film conference. Just saw some places, like bridge and tourist spots but today, I will go visit Tate Modern. I will keep you posted.

What's in Indonesian Cinema next Week?

2010-09-03T11:58:00.000-07:00

Before I leave for London next week, I would like to update my blog. There is still no Indonesian film in commercial theater, but next week, you might anticipate some good news --or bad, it depends on your POV. There will be three films already slotted for next week screening. They are:

1. Darah Garuda (Merah Putih II)
At first glance, I thought that's another Indonesian horror movie. The horror director/producer just loves the word 'darah' (blood), but in fact, Darah Garuda is the second installment of mega-blockbuster (in Indonesian scale), Merah Putih (Red and White). Darah Garuda is war movie based on the story of Indonesian independent struggle during 1947. Since I did not watch the first film (I was in NYC at that time), then seeing this second part might be difficult task to do.

Directed by (extremely) young American director, Conor Allyn,the film tells a story about a heroic group of “cadets” a guerrilla war on the island of Java in 1947. Long story full of action and brilliantly photographed by talented actors of Indonesia.Divided by their secrets in the past, and a sharp conflict in terms of personality, social class and religion, the four young men banded together to launch a desperate attack against the camp owned by the Dutch, in order to save the women. Said to be an epic, action-packed thriller, Darah Garuda might have appeal in general audience and its nationalist constituents, considering the recent nationalist rise after Indonesia-Malaysia ongoing conflict. Released on September 8, 2010.

2. Sang Pencerah (The Enlightment)
Hanung Bramantyo comes back with another religion-driven blockbuster movie, titled Sang Pencerah. Costs almost 15 billion IDR (1,5 million USD), Sang Pencerah tells the story of the founder of Muhammadiyah, KH Ahmad Dahlan in which the setting is mostly in 1800 AD. The film will be premiered simultaneously in cinemas in various regions in Indonesia in the Idul Fitri (which is next week).The film is produced by MVP Pictures, owned by famous producer, Raam Punjabi.

3. Lihat Boleh Pegang Jangan
Yesterday, I talked on the phone with Pak Yoen K, the executive producer of Maxima Pictures whose films are famous for its strange title but constant box-office. For this holiday season, Pak Yoen K told me that he's already busy with recent installment titled Lihat Boleh Pegang Jangan (lit: You Can Look but Do not Touch). This low-brow comedy tells a story of a restaurant business owner who's facing competition from a newcomer. Expect some laugh, boob and slapstick!

Update: Bioskop Merdeka

2010-08-28T23:11:00.000-07:00

Bioskop Merdeka, 2nd period, 31 August - 13 September 2010
http://bioskopmerdeka.blogspot.com/
http://bioskopmerdeka.tumblr.com/

Link of the Week:The Suffering is Complete

2010-08-28T02:57:00.000-07:00

Dear friends

I have tried to refrain from giving you bad news on the otherwise very beautiful Saturday afternoon. But I have to inform you that JB Kristanto, the prominent film writer since 1980s wrote in Kompas, Sunday, 22 August 2010 with article titled "Maka Lengkaplah Penderitaan Itu" (Then the Suffering is completed). The article itself provides update on the situation of Indonesian film industry, particularly film production, market situation and exhibition. The article is available here.
Not a sunshine obviously but you might find some interesting statistic there.

Thank you for your attention

Best,

Veronika Kusumaryati

OK.Video - Jakarta International Video Festival. A Retrospective.

2010-08-27T12:52:00.000-07:00

OK.Video - Jakarta International Video Festival. A Retrospective.
Curated by Katerina Valdivia Bruch

Vernissage: Thursday, September 2nd 2010, 7 pm

Muhammad Akbar · Wimo Ambala Bayang · Tiong Ang · Reza 'Asung' Afisina · Nala Atmowiloto · Henry Foundation · Andry Mochammed · Krisna Murti · Ari Satria Darma · Anggun Priambodo · Prilla Tania · Tintin Wulia

Exhibition: September 3rd – October 16th, 2010
at Art and Culture International e.V.

Programme:

Talk about artists´ initiatives and the video art scene in Indonesia.
A talk by Hafiz and Katerina Valdivia Bruch
September 7th, 2010, 7.30 pm

Address:
art and culture international e.V.
c/o KunstBüroBerlin
Uhlandstraße 162
D-10719 Berlin
www.art-cult.org
Opening hours: Wed-Fr. 12-7 pm, Sat. 1-4 pm, and by appointment

This project is supported by Goethe Institute (grant for curators), IfA (Institute for Foreign Cultural Relations), Kunst Magazin Berlin, Indonesian Embassy in Berlin and KunstBüroBerlin.
Organised by art and culture international e.V.

More information:
ruangrupa
OK. Video - Jakarta International Video Festival

Presentation of the project 9808, video works related to ten years of Reformasi.
A talk by Hafiz, Artistic Director of OK. Video - Jakarta International Video Festival and Director of Forum Lenteng, Jakarta

Friday, September 3rd, 2010, 6 pm

Address:
Embassy of the Republic of Indonesia
Education Section
Lehrter Str. 16/17
D-10557 Berlin

Link of the Week:Indonesian Film in Melbourne and Sidney

2010-08-27T12:37:00.000-07:00

On photo: Chairun Nissa

I recently heard that Full Moon, a short film by talented female director, Chairun Nissa is being screened at 5th Indonesian Film Festival in Melbourne and Sidney. Some productions are in fact being presented. Being the first and the biggest Indonesian film festival outside Indonesia, FFI Melbourne was held on 20-26 August while the Sidney edition is on 26-29 August 2010. Film selection is available here. Hopefully this festival can offer better programming than IFF Jakarta. At least, please try.

Update: Indonesian Film in Japan, Korea and Jakarta

2010-08-27T12:08:00.000-07:00

Photo: bioskop merdeka's meeting @Subtitles
Sorry for not writing a lot recently. I have been so busy doing some stuff. The bad news is that there is no Indonesian film in cinema this week. But two Indonesian films, The Forbidden Door (Joko Anwar, 2009) and Sang Pemimpi (Riri Riza, 2009) are selected at recent Focus on Asia Fukuoka International Film Festival to be held in Fukuoka, 17-26 September 2010.

Yogie Sumule and Paul Agusta will join force to produce Jalur Selatan (now on research/writing phase). The project has been selected for Pusan Promotion Plan for Pusan International film festival 2010 . Second installment by female director, Mouly Surya, titled Extraordinary Me is also selected for the Plan..

If you do not heard anything from Edwin, then you certainly are blind or deaf. Now he's extremelly active on Facebook and Twitter to promote his and his friends' proposal for free-non pretentious-art house film screening called "Bioskop Merdeka" (Independent cinema theater). Babi Buta yang Ingin Terbang, Cinta Setaman and tons of short films are screened everyday during two weeks in Subtitle, Dharmawangsa Square, Kedai and Coffeewar. I might write more on this, but you can see some notes on that here.

Enough for now, will be back soon.

Photos from "German-Indonesian Experimental Music Video" Exhibition

2010-08-24T21:04:00.001-07:00

GoetheHaus, Jakarta, Indonesia, August 6-13, 2010

Note from A court Circuit

2010-08-18T02:31:00.000-07:00

Last week might be the busiest week of this year. Doing day-job as film programmer, co-curating video exhibition, presenting paper in conference and working for Kajian programme sometimes were not fun to do. It's simply too much. I have been working with Dimas Jayasrana from CCF Jakarta since 2007. But starting in 2009, CCF started to invite Klub Kajian Film IKJ as collaborator for film and discussion programme in A court circuit, annual short film screenings organized by CCF.

I have to say that CCF Jakarta is the friendliest cultural centre for short film. Every month they have screening for short films, involving young and emerging short filmmakers across the country. In 2007, they invited Laurent Crouzeix, film programmer from Clermont Ferrand Film Festival to come to Indonesia. In the following years, Agus Mediarta (Konfiden) and me were in Clermont Ferrand to see their organization. Last year, my dear friends, Pidi, Steven, Ari Rusyadi, Nicho Yudifar and Eric Gunawan were in France for festival reason. Pidi was granted a visiting grant to see film scene in Paris. Steven competed his short film, CINtA, in prestigious Clermont Ferrand Film Festival, Ari Rusyadi and Nicho were in Poitiers Film School Film Festival. We are all from IKJ, that's quite sectarian haha. But yes, you know....

Since 2007, I can see the short film scene in Indonesia is growing. There are still hundred and hundred of short films being produced. In last Film Communities meeting (March, 2010, Solo), at least 42 film communities were present, mostly from Java island. Not to mention, more and more film communities out side Java and some independent film maker or art group who also produce film. Generally the trend is quite positive.

This year, we warmly welcome Binus Film School that hopefully will encourage more film productions. Until today, IKJ (Jakarta Arts Institute) is still major film school that produce films. I have curated IKJ films since 2007 and I can see a growing number of good films are born. My friend, Puput Kuspujiati, has done interesting research on IKJ short films. She might witness the rise and fall of this school's final projects as well as films made for class.

Since 2007, I selected some films from Emil Heradi (always my fave director), Steven F Winata, Erik Wirawan and alike. Emil Heradi directed Fronteira (2009) and Negeri Maling (2009). Negeri Maling is social realist drama about a group of working class men. Sudrun works with truck driver just to find that everybody will do everything for money, including himself. Fronteira in the other hand is a film about Indonesian and East Timorese soldier having a casual conversation during the war era in the late 1990s. Those two films are rare example on how Indonesian director accomplishedly present a daily life drama of common people.

Steven F Winata's works have already screened in A court d'ecran/A court special since "Across the Universe" in 2007. A dark and emotional-charged drama, Across the Universe is trying to find a different language for portraying violence. In his "CINtA" (2007), he changed his thematic approach to more dramatic tone, albeit less -emotionally charged. "CINtA" is first final project at IKJ to be selected for competition in Clermont Ferrand ( I don't mention Edwin albeit he's a regular).

Another name that crosses my mind is Erik Wirawan. Erik works with lower class issues, but with comedic approach. His film, "Ganco Cola" (2008) is unique piece portraying third world garbage pickers in their real location. He tries to make another left-wing approach by making "Viveka" in 2010 as his final project. Viveka tells a story about a group of wayang orang actors (traditional theatre company) in threat of being evicted. Losing his 16 scenes, the film fails its mission to deliver a coherent story about the struggle of traditional group against more powerful force.

In recent A court Special, me and Puput as film curator chose Winaldo Artaraya's film. We already screened his film "Akhir" (2007), a thugh and criminal drama, shot mostly in night time. We are quite surprised that his new film "Angin" (2010) presents a quite different story and tone. Angin is an exquisite movie set in quiet Buddhist temple showing a Buddhist biksu tries to deal with his past. This film has very wonderful casting that rarely found in many student films.

Beside Winaldo, we are also glad to screen Nandra's film, "Sang Penggoda" (2010). Sang Penggoda is a surrealistic journey by an Islamic man. The character (and film itself) is testing his own strength in the time of seduction and threat. Albeit some verbal dialogs, the film is a strong message to our time where Islamic defenders try to enforce their view on violent Islam.

I also take a note on Nicho Yudifar's development. Working with talented scriptwriter, Damas Cendekia, "Kabar Gembira" (2009) is a difficult journey into the heart of dying man. Nicho's approach might not be something new, but if he learns more and more, he will make some good films, I think.

From many students taking directing major, perhaps Chairun Nissa "Ilun" is the strongest woman in the camp. Having specific interest to the life of working class family, Ilun is always ready to challenge herself to extend the border of social realist drama . Her recent piece, "Full Moon" is not really excellent in itself but shows that the filmmaker is growing mature. I hope she will work more and more to develop her sensibility and skill to tell stories.

What else? I always love Nala Atmowiloto's piece, "First Nation on Mars" (2008). It's a gem. Science fiction genre in IKJ final project is a bless!!!!

I should mention Ari Rusyadi "Pabrik Dodol" (2009). It kind of give me hope that IKJ student can make a good documentary. But alas, he's the only one. Do I forget something or someone? Previously I like Daniel Rifki's film, but not with "Anak-anak Lumpur" (2009). Despite it addresses very serious problem of Lapindo mudflow incident, I see it as an over-dramatic handling of political issues. It's not bad film actually, but you know.....

I hope I can see more works in the future, so I can write more. For now, I am waiting for comments.

Experimentelle Deutsch-Indonesische Musikvideos

2010-07-23T01:30:00.000-07:00

Exhibition: 7-13 August 2010, 10am-5pm (Sunday closed)
Goethehaus
Jl. Sam Ratulangi No. 9-15 Menteng, Jakarta Pusat
Opening: Friday, 6 August 2010, 7pm
Videotalk with Anggun Priambodo (music video maker) and Indra Ameng (ruangrupa, curator)
Friday, 6 August 2010, 4pm

Exhibition curator: Veronika Kusumaryati & Rizki Lazuardi

Since 1998, the International Film Festival Oberhausen has a special programme for music videos (MuVi preis) that shows German music videos. It has thus become the first international film festival to accept music videos as an own art form, not only as an illustration and promotion for music. Music videos at Oberhausen are not evaluated based on their music, but based on visual an filmic aspects. Furthermore, Oberhausen recognizes that, being part of the mass culture, music videos are considered a variant of avant garde.

Experimentelle Deutsch-Indonesische Musikvideos is the first exhibition that brings together German and Indonesian music videos emanating from the Oberhausen concept. The exhibition shows 31 experimental music videos, a result of the curation of the Oberhausen Film Festival since 1998 until 2007 under the programme Zur Rettung Der Popkultur:Experimentelle Deutsche Musikvideos 1998-2003 and 2003-2007. The exhibition presents 17 selected music videos from Indonesia produced between 2002 and 2009. A discussion with an Indonesian video artist and the curator will precede the opening.

New Release:Prison and Paradise

2010-07-21T09:19:00.000-07:00

My friend, Daniel Rudi will release his documentary about terrorism in Indonesia soon this year. I believe, this film will be no-less controversial than its heavy-handed topic. For now, please see the teaser! One of the most anticipated documentary this year.....

Au Revoir Cahiers du Cinema

2010-07-19T22:18:00.000-07:00

My French friend, Jennifer told me that Cahiers du Cinema is dead. I was surprised. How come? She told me that the Cahiers was bought by American [colonialist] conglomerate, Phaidon and made some of its famous editor decided to leave the Cahiers. I just could not comprehend. It's really big news. I am trying to think about this actually. Cahiers du Cinema is simply the bibble for film buff and has a long history since 1951. Part or the provocateur of the French Nouvelle Vague, the sale of Cahiers to American company is seen as the raise of capitalist power over French cinephile, just like Hollywood. I can say that my friend expressed her deep regret and now, hatred toward this new regime. Just like some of its editor that left the Cahiers soon after it's owned by the American. Zlurp!

More info on this: here, here, , here, and here.

Time Flies

2010-07-19T03:45:00.000-07:00

Photo was taken in La Guardia airport, NYC.

I am too melancholic to post a blog. I owe you some writings, obviously but it's raining outside and I will meet Dimas and Puput for preparing a curatorial works next month in CCF Jakarta. Will update you later on this. Btw, my London travel is confirmed. Has checked Tate and ICA exhibits. Can't wait to go there!

Post Notice: Madani Film Festival is being postponed to 2011

2010-07-14T03:22:00.000-07:00

JiFFest apologized for pushing back the dates for Madani Film Festival to 2011 due to some unexpected circumstances (I suspiciously guess of lack of funding). Alas!

Post Notice: Krisna Murti's solo show 'MUTE ! THEATER' (video theater+digital print)

2010-07-12T02:14:00.000-07:00

His work in this regard serves autobiographically to tell the artist's personal story of a subject whose cultural horizons are cosmopolitan, and who over time has experienced a process of separation from certain cultural horizons.

For example, Krisna suggests that his position to the Wayang Wong is one of an outsider, exoticizing what was once part of his cultural and social horizons, but from which he has become estranged. On the other hand, he emphasizes the discomfort of such exoticization by conciously taking up the position of the exotic object.

Pushing this role, in his Empty Theater (video theater) the artist turns himself into artifact, visually recorded in a way that mimics photographic genres associated with scientific methods of collecting, recording and organization in anthropological documentation, methods of museumization that were brough to bear during the colonial era and perpetuated by the government after independence. (Amanda K. Rath, US/Germany)

When: Wednesday, July 13th, 2010 -Sunday, July 18th, 2010
Where:
Bentara Budaya Jakarta, Jl. Palmerah Selatan 17 (Kompleks Kompas), Jakarta, Indonesia

What's in Indonesian Cinema this Week?

2010-07-12T00:57:00.000-07:00

Getting back to Jakarta, I am preoccupied with many things. A lot of deadlines and some travel itineraries. But anyway, I still go to the movies every Monday to see what's new in Indonesian cinema now [despite the fact that 21 Cineplex always changes their schedule every Thursday). Ok, here is the movie:

1. Tanah Air Beta (My Homeland)
Released on June 17th, 2010
A new film by successful kiddie movie's director, Ari Sihasale (and his producer wife, Nia Zulkarnaen) sets their story in the border of East Nusa Tenggara Indonesia and East Timor, tackling a heavy-handed subject on family separation after Timor Lorosae/East Timor decided to be independent from Indonesia in 1999. Tatiana, a single mother of Merry (10 th) live in the refugee camp in Kupang, while the son, Mauro lives in East Timor with his uncle. Merry wants to meet her brother but situation seems difficult for both parties to reconcile. In the same time, Abubakar, an Arab -descent refugee adopts Carlo, an orphaned child whose parent was killed during the war. Once, Merry and Carlo run from school and go to the border to see Mauro.

[Using non-child actors, Ari Sihasale is back with his visual and narrative style. Emphasizing education, he uses teacher character to deliver his nationalist message. However, unlike his previous film:Denias, Senandung di atas Awan, he avoids tackling political controversy surrounding East Timor's issue. As usual, he chooses a road-movie iconography to show the beautiful landscape of East Nusa Tenggara. It has been in cinema for almost four weeks, quite a box-office for Indonesian film]

2. Red Cobex
Released on June 17th, 2010
A comedy film by young female director, Avi who never directs comedy film before. Produced by Chand Parwez, Red Cobex portrays a gang of female right defenders with different ethnic background, such as Mama Ana (Tika Panggabean-Ambon), Tante Lisa (Indy Barends-Manado), Yu Halimah (Aida Nurmala-Tegal), Mbok Bariah (Sarah Sechan-Madura) and Cik Meymey (Cut Mini-Indonesian Chinese) . Combined with love story, this film is an silly adventure turned bad.

3. Pocong Keliling (Travelling Pocong)
Released on July 8th, 2010
Another horror film about pocong by director, Ody Mulya Hidayat under Maxima Picture's production. You will find sexy girls with big boob, lame love-making scenes, and of course, grotesque pocong ghost.

4. Istri Bo'ongan (Fake Wife)
Released on July 8th, 2010
An old formula to sell your stupid movie to Indonesian audience:over-the top acting, sexy girls with prosthetic breasts, a drama about a beautiful cum devout girl with poor parent, and the search of faithful wife in post-modern Indonesia. Istri Bo'ongan by female director, Arie Aziz will fulfill the imagination of pre-feminist-revolution male in search of 'true love'. Cast:Julia Perez and Fahrani.

5. Obama Anak Menteng (Obama, the Menteng Kid)
Released on June 30th, 2010
by producer, Raam Punjabi (Multivision Plus)

Telling a story of US president, Barack Obama's childhood years, Obama Anak Menteng is an ambitious but lame effort to show a biographical look at someone whom we imagine, is having special relationship with us. Directed by Damien Dematria (who wrote the novel in which the film is based on) and John De Rantau --not without controversy, John De Rantau has been said to be the sole director--, Obama Anak Menteng is a scrap note without strong narrative structure. The film is quite delusional in term that the script tries to incorporate some elements and characters that do not make believe at all. Not to mention, its lame actings and some other flaws. In overall, the film is going nowhere.

[Last Monday, when I watched this film, the theatre was only filled a half and nobody laughed nor felt inspired during the screening]

6. 3 Hati 2 Dunia 1 Cinta (Three Hearts, Two Worlds, One Love)
Released on July 1, 2010

A new release by Mizan productions tells a love story of a Muslim boy and a Chatolic Girl. Will they live happily ever after?, the film asks. Directed by Benni Setiawan, the film follows the course of the lovebirds in a complicated and religious society like Indonesia. A lof of friends recommend this but I will just see the movie today so I might update you later.

7. Not For Sale
Released on June 24th 2010

Virginity not to be sold, they said. Ouch. Another sex-filled film by productive film maker, Nayato Fio Nuala. Yeah, another story about a beautiful poor girl who should sell her body to send her sick mother to hospital. Third world problem, apparently!

Saigon Street

2010-07-04T10:55:00.000-07:00

Sometimes I find it's impossible to pronounce, let alone remember Veitnamese words. They have a lot of signs like French, but it's worse. They have many. So I take picture so I might not be lost.

Posting from Ho Chi Minh, Vietnam

2010-07-02T10:01:00.000-07:00

I am in Ho Chi Minh, Vietnam for Southeast Asian Cinema Conference since June 30th, 2010. I will present a paper about my current research on Indonesia video scene. So far, I have been thinking about staying here. HCMC is very interesting and thriving city, with a very cheap price. Despite strict censorship, Vietnam has a very distinct heritage and of course, cinema and art scene. Today I watched a very good film titled Seth by filmmaker whose name I could not recall (I will try to google it later), who will do an adaptation of heavy-handed book by Haruki Murakami, Norwegian Wood. Yesterday I go to Sans artspace whose patron is surprisingly my friend's friend. I might update later on this. Obviously, a lot of things are going on in this city. Very nice city with SUPER good food. By the way, the conference is going quite..well? Some presentations are really good, but some are badly-presented. I will write later. Hopefully soon.

It's not a Big Joke but Yes, We Make Film About Obama

2010-06-29T02:10:00.001-07:00

Whoaaa...Even FPI (Islamic Defenders Front) or some radical groups love to hate America, deep of our heart, we really love it. In a few weeks, the Multivision Plus Pictures will release film titled Obama Anak Menteng (“Obama the Menteng Kid”), a children’s film about President Barack Obama’s childhood years in Indonesia, based on a book with the same title by Damien Dematra. I believe this film will not only strengthen the billateral relationship between Indonesia and USA but also put some of our filmmakers on the map --for notorious reason. But well, we will see!

On Print:Gelaran Almanak Seni Rupa Jogja 1999-2009 (Gelaran Almanac:Jogja Visual Arts, 1999-2009)

2010-06-27T21:22:00.000-07:00

Upon meeting in Ruangrupa for Arts Coalition Network, Ade Darmawan showed me a yellow-thick book titled Gelaran Almanak Seni Rupa Jogja 1999-2009. Quite a good news! This almanac presents every detail concerning the state of Jogja visual arts and artists. The researchers are much appreciated for their meticulous works and persistent dedication. One will find this book very useful because the writers take a note every event, exhibition, occassion even, controversy in Jogja visual art scene. So, have one and read it. The book is available in major bookstores. More info is here.

Post Notice: Bandung Contemporary Art Awards

2010-06-24T00:45:00.001-07:00

@Galeri Soemardja, ITB, Bandung

Being artist now is easier than before. A few years ago, sending artwork to a competition was quite lame. The only prestigious art competition, I thought, was Nokia Art Awards. But then, a greedy art market needs new works ....to be sold. So yeah, my dear artist friend, I think this platform could be used for your career launching pad. Or simply if you just need money. It might be worth it. More info is here.

Bedford Avenue, Brooklyn, NYC

2010-06-16T10:08:00.000-07:00

I strolled down the avenue and made a playlist to cure my headache. I made a playlist to fill my empty heart. I made a playlist to listen to while I am staring at the window in a cafe nearby. It's rain outside. I didn't go to McCaren Park.

1. There is a Light that Never Goes Out (The Smiths)
2. Zero (Yeah Yeah Yeahs)
3. The Best Thing (Doveman)
4. Crystalised (The Xx)
5. Quequ'un M'a dit (Carla Bruni)

Post Notice: Fixer

2010-06-16T00:48:00.003-07:00

FIXER | Visual Art Communities and Alternative Art Space Exhibition | North Art Space Jakarta, June 19 – 28,2010

The emergence of new visual art communities and alternative art spaces in Indonesia post-1998 signifies Indonesian contemporary arts in recent years. Many artists-initiative and artist-run organisations encourages budding artists and new discourse produced. One of its visible impact is the proliferation of artworks produced collectivelly as well as individually in the critical frame of its organisation's political stance. These organisations also have new awareness by involving public on their art events:exhibition, festival, workshop, etc.

This interesting exhibition will present more than 20 art groups/communities from across the country to exhibit their works. Participated group:
Akademi Samali (Jakarta), Asbestos Art Space (Bandung), Atap Alis (Jakarta), BYAR Creative Industry (Semarang), Common Room Networks Foundation (Bandung), Forum Lenteng (Jakarta), Gardu Unik (Cirebon), House of Natural Fiber (Yogyakarta), Jatiwangi Art Factory (Jatiwangi), Kampung Segart (Jakarta), Malang Meeting Point (Malang), Maros Visual Culture Initiative (Jakarta), Performance Club (Yogyakarta), ruangrupa (Jakarta), Ruang Akal (Makassar), Ruang Mes56 (Yogyakarta), Sarueh (Padang Panjang), Serrum (Jakarta), Tembok Bomber (Jakarta), Urbanspace (Surabaya), & Video Lab (Bandung).

Curator
Ade Darmawan & Rifky Effendi

Opening
Friday, June 18, 2010

Exhibition
June 19 – 28 2010

Where:

North Art Space
Pasar Seni Jaya Ancol
Jl. Lodan Timur no. 7
Pasar Seni Ancol
Jakarta Utara 14430
Telp. 021-64710319
URL: http://www.ancol.com

Soccer Madness

2010-06-15T07:45:00.000-07:00

Andi Bachtiar Yusuf, director of "The Jak", "Romeo and Julie" and some other soccer films is on campaign against non-liberal soccer network (in t-shirt, inscribed: Liberal Soccer Network). Shot during the screening of his films, he takes a pose for current World Cup, currently held in South Africa. So do we have a new religion, ie. soccer? Definitely, he said.

The New Porn

2010-06-14T00:07:00.000-07:00

Internet arguably has taken part on the distribution and circulation of ‘domestic’ pornography in Indonesia, extending its traditional means of distribution –VCD. Now those traditional means along with its more modern counterpart join force to buzz recent sex tape by famous Indonesian rock star, Ariel Peterpan and his model girlfriend, Luna Maya. Became an instant internet phenomena (two-days as trending topic in Twitter and some heated debate in social networks), this sex tape adds another hype to the issue of pornography, already regulated in controversial 2008 Anti-Pornography Law. Released by unknown sources approximately ten days ago via youtube, the sex tape is quickly circulated through Facebook, Twitter, and another social network. And in just less than a week, people can find its VCD in Glodok Market. As every sex tape’s leak impact its maker/subject, this case is quite gaining public attention because of its wide distribution and subject. Both Ariel and Luna Maya are in their career peak. The band sells million copies while the model is in every single ad and television programmes in Indonesia.

This hype is soon followed by another sex tape involving Ariel Peterpan and another celebrity named Cut Tari who has already married. Some unconfirmed sources said that Ariel Peterpan actually made more than 30 sex tapes with top-notch Indonesian model/film star/celebrities. This news is quite a shock for his fans and of course, Indonesians who are always repressed for seeing any kind of sexual expression.

However, the public in this case are surprisingly not judgmental. Most people are in support of Ariel and his partner’s innocence in regards to the sex tape, or at least, they don’t take side while waiting police’s investigation. During Twitter trending topic few days ago, instead using moral and religious consideration, most people discuss, make a fun or simply gossip about the sex tape. Nobody offends this couple despite they are contravening prevailing mores in Indonesian society by engaging in pre-/outside marital sex.But government (Ministry of Information), under conservative party and television are hand in hand on blaming Ariel and his partners. The minister even tries to bring the celebs to police and even to the psychologist (in consideration that they are exhibitionists and some kind of moral disease). Some local governments, for instance Semarang and Surabaya, recently released a ban for Peterpan to play in their region while some schools breach students’ privacy by examining their cellphones to find some porn files. The sex tapes themselves document various sexual acts in a hotel room, with cellphone/consumer camera in static angle. From some conversations in the tape, one could identify who took the picture: the subject itself (in this case, Ariel). One could also find the surprising fact: the videos are already been edited.

Some off-the-record sources tell me that the video is deliberately circulated out of jealousy. The culprit is a “really really big boss” who is being angry watching one of his mistress sleeping with famous rockstar. Whatever the reason, internet revolution and its impact is bigger than expected and it goes hand-in-hand with the availability of other consumer technologies that make production possible. The emergence of internet culture provides an unusual perspective on some of the recent cultural changes underway in the post New Order freer mediascape.

More reading in this topic is here

Mangga Besar is Thriving

2010-06-11T01:04:00.000-07:00

Located behind the most thriving and wild Stadium scene, Mangga Besar is unexpectedly unexpected. Two weeks ago, me and some friends were there for crab noodle. Obviously they have several eateries. Beside crab noodle, they have a long line of Chinese establishments providing any kind of Chinese food from --mostly-Medan, North Sumatra. You could also find durian's sellers and strangely, sex shop. A lot. They have number in their hole-in-wall shop. As there are sex shops, consequently there are definitely some prostitution areas. That's Jakarta's logic.

As we strolled down Jl. Mangga Besar, we are surprised that this area is full of gritty old buildings, billiard centers, and strangely, animal sellers. We even found living snake put in the cage!!! Some places offer lizard pill, snake's blood, snake satay and other weird species. It's just .....grotesque! Some people believe that snake, lizard and some other traditional medicine can increase your sexual energy. Our excursion ended up in Stadium, arguably one of a kind-discotheque/club in the town. If you can find snake and viagra in the neighbourhood, you can find drugs and some people who already stay in the dancefloor since last weekend. Believe me, it's THAT crazy!!!!!

Bold or Bild?

2010-06-10T02:43:00.001-07:00

Cikini, May 31, 2010

Eternal Summer

2010-06-08T02:54:00.000-07:00

In the absence of public park, this scene is quite rarely found on Jakarta street. Cikini Train Station, June 3, 2010.

Post Notice: Goelali Children's Film Festival

2010-06-07T01:11:00.000-07:00

Hi kids, wanna see films made particularly for you? Mind the sponsors, though. They're bunch!
The festival will be held on June 12-20 2010. Where?
Miniapolis (3rd Floor) & Multifunction Hall (2nd Floor)
Plaza Indonesia
Jl. M.H. Thamrin Kav 28-30
Jakarta 10350

Beside film screening, the festival will organise exhibition, workshops and many more. More info is here.

Post Notice:Doppio Sogno Dell’Arte: 2RC – Tra Artista e Artifice

2010-06-06T23:15:00.001-07:00

DOPPIO SOGNO DELL’ARTE: 2RC – TRA ARTISTA E ARTIFICE
(The Doublefold Dream of Art 2RC – between the artist and the artificer)
Curated by Achille Bonito Oliva

On the occasion of the celebrations for the Italian National day (June 2nd), the Embassy of Italy to Indonesia and the Italian Institute of culture Jakarta, with the support of the Italian Trade Commission and Biasa Artspace, present to the Indonesian public the graphic art exhibition: “THE DOUBLEFOLD DREAM OF ART: 2RC BETWEEN THE ARTIST AND ARTIFICER. An all Italian Experience”, curated by art critic Prof. Achille Bonito Oliva. After travelling throughout China, in the most important Art Academies, and more recently at the Museum of Art of the Seoul National University, the exhibition, comprehensive of a large collection of graphic works of Italian and international artists who worked together with 2RC, will be presented in Indonesia in three separate spaces, namely Selasar Soenaryo in Bandung, Galeri Nasional in Jakarta and Sangkring ArtSpace in Jogjakarta. Different works will be on display at each venue: the Italian and International historical artists will be presented at Galeri Nasional; the Avanguardia at Selasar Sunaryo, the American and British artists at Sangkring Art Space, for a total of 145 graphic works - etchings, aquatints, lithographs, embossings - and 8 copper plates. A full idea of 2RC collection could therefore be achieved only by visiting the three sections of the exhibition, which presents the significant results of a successful encounter between great masters of contemporary art and Italian excellence in engraving and printing. Quoting the curator, Achille Bonito Oliva: “The collection is a crossover of the Contemporary Art History from the 60's until today. It represents an international panorama, for presence and quality, which is absolutely reliable to the artistic creation of the second half of the XX century to now days. An all Italian creative tradition”. Through this important initiative, that will see the presence of Prof. Achille Bonito Oliva, the Embassy of Italy and the Italian Institute of culture intend also to encourage deeper relations between the Italian and Indonesian Art System.

Dates & Venues:
Bandung, Selasar Sunaryo (29 May- 22 June)
Artists: Clemente, Cucchi, Schnabel
Opening: 29 May, h. 17

Jakarta, Galeri Nasional (4-24 June)
Artists: Afro, Burri, Fontana…..]
Opening: 4 June, h. 19

Yogyakarta, Sangkring Art Space (11-20 June).
Artists: Bacon, Francis, Nevelson, Segal …..
Opening: 11 June, h.19

More info: here

Zowy is Newbie

2010-06-06T20:54:00.003-07:00

Recently, I notice some graffitis showing this sign. New group anybody?

Post Notice: Closing Party@Ruru

2010-06-04T02:30:00.001-07:00

As there is party for exhibition opening, Ruangrupa finds another reason to make another party: exhibition closing. And it promises a lot of fun and old-school festivities. Beside organising flea-market, Ruangrupa will screen documentary of Indonesian Popular Song Festival aired in TVRI in 1986!!! with footage showing talents like Jopie Latul and Vonny Sumlang. What a crazy thing to do. In addition, the screening of old teenage film, Lupus, will certainly bring you back to that era. Please come! It will be wild!

Post Notice: Football or Soccer or Regarding World Cup Fever

2010-06-04T02:18:00.000-07:00

credit photo: Arsenal Film for "The Other Final" documentary

Regarding World Cup 2010 to be held in South Africa in this coming week, Erasmus Huis, The British Council and Kineforum Jakarta Arts Council organise three days football film festival, starting yesterday, June 3 to June 6 2010. Seeing the selection, you might feel surprised since some films were already screened. But if you run for anything masculine, please note some Indonesian films in selection. All the screenings are free. Please check the schedule here.

Propaganda: Against Israel Attack

2010-06-04T01:57:00.000-07:00

Early Monday (May 31, 2010) morning, Israel attacked a flotilla of aid ships bound for the Gaza Strip; up to 10 people were killed in the pre-dawn raid, according to organisers and media sources. Indonesian people, as one of the largest supporter of Palestine's freedom, immediately express their anger toward Israel and of course, US (based on the consideration that USA is Israel's biggest supporter). Banners shown here were taken in front of Metropole's theater, Jl. Proklamasi, Jakarta yesterday (June 3, 2010).

Chinatown Excursion: "Gang Mangga" Noodle

2010-06-03T00:00:00.000-07:00

Could I say that these pictures are typical of Indonesian-Chinese establishment? ps. This restaurant serves extraordinary noodles and cincau ice. It's located in Gang Mangga, Petak Sembilan, Glodok, West Jakarta (just follow Gadjahmada street, turn left two blocks before Glodok bridge/trade center).

Work in Progress: Cinema and Terrorism

2010-06-02T23:34:00.000-07:00

Me and Nayla are working in a new project in the field of Cinema and Terrorism. We are preparing an abstract for a conference to be held in London this September. As a country with biggest Muslim population, Indonesia arguably has some interesting cases regarding the rhetoric and representation of terrorism, a particular terminology coined by post-9/11 George W. Bush's war on terror. I have been watching some works regarding this project. Two particular documentaries were made by filmmaker, Leonard Retel Helmrich, one is in progress from my friend, Daniel Rudi Haryanto (photo shown here is from his editing room), and some other works found in mainstream cinema as well as in the low-brow market. We will update you on September!

Yes, Weed Can

2010-06-02T00:49:00.000-07:00

Fine Arts Dept's backyard, Jakarta Arts Institute, May 12, 2010.

Report from Cannes Film Festival

2010-05-30T22:56:00.000-07:00

credit photo: Festival film de Cannes
Naomi Wolf wrote an interesting article about this year Cannes Film Festival. Beside the controversial Palme D'Or winner, Lung Boonmee Raluek Chat by Apichatpong Weerasathakul, some films in the award section invites mixed-review and opinion whether they deserve such award. But as Village Voice wrote, Cannes will be Cannes. They have their own dignité. Personally, I found Weerasathakul's award is not suprising. Southeast Asian filmmakers and curators found it delightful since we don't know when this particular cinema is on spot again. But for all, I am looking forward to see the film.

Here is the complete award:
Grand Prix
DES HOMMES ET DES DIEUX réalisé par Xavier BEAUVOIS
Prix de la mise en scène
Mathieu AMALRIC pour TOURNÉE
Prix du scénario
LEE Chang-dong pour POETRY
Prix d'interprétation féminine
Juliette BINOCHE dans COPIE CONFORME réalisé par Abbas KIAROSTAMI
Prix d'interprétation masculine Ex-aequo
Javier BARDEM dans BIUTIFUL réalisé par Alejandro GONZÁLEZ IÑÁRRITU
Elio GERMANO dans LA NOSTRA VITA réalisé par Daniele LUCHETTI
Prix du Jury
UN HOMME QUI CRIE réalisé par Mahamat-Saleh HAROUN
COURTS MÉTRAGES

Palme d'Or du court métrage
CHIENNE D'HISTOIRE réalisé par Serge AVÉDIKIAN
Prix du Jury - court métrage
MICKY BADER (MICKY SE BAIGNE) réalisé par Frida KEMPFF

The Rise of the Curators

2010-05-30T21:27:00.000-07:00

Recently I read a debate about contemporary curator. This weekend, New York Times presented an article about how young curators emerge in American art scene. While e-flux journal incites interesting discussion on the role of curators. Both articles are more North-American which in any comparision, far-removed from what is happening, say, in Indonesian context. The absent of public art museum obviously diminish the role of art discourse in Indonesian art world. The only strong art infrastructure then is art market. Unfortunately, any critical question regarding the role of curator in the art market is never arised. In some extents, curators depend solely on the art market.

If you take a closer look to the works of some curators here, they simply justify the taste of the rich art collector without any efforts to administer the experience of art by selecting what is made visible,let alone contextualize and frame the production of artists. All they have to do is to select works/artists based on the topic/theme proposed by commercial gallery and make an article -full with quotation of complicated art theory- for the exhibition catalogue justify their selection. It's a regret.

Post Notice: Anggun Priambodo in Grocery Store

2010-05-27T01:00:00.000-07:00

My favorite video artist, Anggun Priambodo conducts his solo exhibition titled "Toko Keperluan" (lit. grocery store). Curated by Ade Darmawan, the exhibition is held in
RURU Gallery
Jl. Tebet Timur Dalam Raya, No. 6
Jakarta Selatan
12820
p/f: +62-21-830.4220

From May 22 to June 5, 2010, 11am to 9pm (closed on Sundays)

More on the exhibition can be found here and Anggun Priambodo's works can be checked here.

Post Notice:Festival Film Purbalingga

2010-05-27T00:55:00.000-07:00

One of the most successful local film festival is back with vengeance. Opened last nite, the festival will last from May 26 to 29. Unfortunately, I could not make it. The fourth festival comes with variety of programmings, including new competition for wedding video section. Terrific! More on the festival click here.

Post Notice:Indonesian Graphic Novel Zone

2010-05-27T00:27:00.000-07:00

ZONA CERGAM INDONESIA 'Makin Meriah'
Level One - East Mall Level 1, GRAND INDONESIA Shopping Town
Jl. MH. Thamrin No. 1 Jakarta 10310 - Indonesia
Friday-Sunday, May 21-30, 2010
You can find everything about graphic novel, comic,etc.More description, here.

Chinatown Excursion: "Ameng" Crab Noodle

2010-05-27T00:17:00.000-07:00

Jakarta has own Chinatown, covering Glodok, Hayam Wuruk, Mangga Besar and Pasar Baru area. But actually, Indonesian-Chinese population now spreads to places like Kota and Kelapa Gading. It can be said that North and West Jakarta are for Chinese. Frequently, I go to China place to eat bakmi (noodle) which is their speciality. Some names are famous, for instance Bakmi Gang Kelinci, Bakmi Gang Mangga and crab noodle in Mangga Besar. Recently me and some friends went to "Ameng" Crab Noodle in Mangga Besar VIII, Jakarta to eat. Really fascinating experience!

Fresh Link: Edwin Hates Auteur Very Much

2010-05-26T21:45:00.000-07:00

Edwin is still in Cannes for his next feature, Postcard from the Zoo. I talked with him during his Sundance Scriptlab last winter and obviously, he's still the most talented and motivated young director here in Indonesia. I took a note of Edwin's presentation during Klub Kajian Film IKJ, April 8, 2010. Here is the complete transcript. d

Fine Art is Dead

2010-05-25T21:56:00.000-07:00

Fine Art Department, Jakarta Arts Institute, May 12, 2010

Sharp is Not Sharp

2010-05-24T21:42:00.001-07:00

Ngurah Rai airport, Denpasar, Bali, May, 20th, 2010

Where Are You? It's so Lonely Here

2010-05-18T02:34:00.000-07:00

Sepi Nih, Pada Kemana? is a short photography exhibition by and about IKJ students in recent years. It has all the underground vibe. Unfortunately, it just last few days. Education authority soon evicted it.

Homeland-Origin and Alienation

2010-05-14T06:21:00.000-07:00

I saw the exhibition in Dumbo Arts walk (NYC) last year and then, Faozan Rizal and Katia Engel travelled their exhibition to Jakarta. Faozan Rizal is cinematographer and experimental filmmaker, while Katia Engel is choreographer. Both have worked together for some exhibitions. Continuing their tradition, they shot some pictures in Kawah Putih crater in West Java. The visual works obviously root from Rizal's surrealism tone, while some Freudian/primitive sculptures are Engel's. Still in one or two sculptures, I could not refrain to think about Gabriel Orozco. Apologize!

Fresh Link: Women and Syariat Islam discussion

2010-05-13T07:08:00.000-07:00

My friend, Sara Schonhardt wrote an article about Sharia law and film, here.

School is Not Quite Dead:Entrance

2010-05-11T20:50:00.000-07:00

Entrance to Jakarta Arts Institute, 2009

Fresh Link: Indonesian Local Film Festivals

2010-05-10T10:29:00.000-07:00

My colleague, Lulu Ratna, recently wrote about local festival scene in Fipresci journal. Here is the link.

New York Loves Me

2010-05-06T00:50:00.000-07:00

53rd Street subway station, NYC

Jl. Pramuka Nite Walk

2010-05-04T07:51:00.000-07:00

April 23, 2010, 11.08pm

As we strolled down Cikini street, the sky turned bright. The sun’s orange glows sprinkled the afternoon gray sky. I was so sad that I felt adrift. I saw the street lamps flickered with sadness I never comprehend. We saw Agnes Varda’s film, the film I have seen before, long before this constant melancholy strikes me again and again.

I felt so miserable I decided to walk from Matraman to my home. Normally I would take 10 minutes bus ride but I found that wretchedness was so deep I could not bear take either 46 or 49 bus going to Pulogadung. Their ugly orange paint made me sick. Their almost empty-seats-because-it’s-almost-10-pm made their hollow space wrap me completely. I strolled down Jalan Pramuka without any clear direction. I just went straight. It’s like I was walking down Williamsburg bridge from Delancey and it was raining, and cold and nobody was there. The fog started to fall into East River. The winter came so early and I glared blankly to that pink bridge, thinking I must have been lost but in fact, I didn’t.

I scanned the storefronts, the houses, the restaurant, the people who swarmed all over the place, the cafetarias, fruit sellers, sex shops, gas station, furniture stores, photocopies center, workshop, and lawyer office. I saw typical Jakarta urban landscape:their anarchy as well as their regularity. I counted and drew a mental map. It seems, Jl. Pramuka is the least likely place to have stories. Located not far from Salemba and Matraman, it’s just passageway from suburban area in East Jakarta to the heart of Jakarta (Menteng, Sudirman, etc) or vice a versa. It’s transitory. There is nothing particular, nothing interesting. There is no shopping mall, no bookstore, no Indomaret, just several gas stations (I counted, three), a low-key hotels dedicated to Arabic guests (Hotel Sentral and more than three small-size, cheap hotels catering similar market), two sex shops, a few of dangdut clubs, several furniture stores, many printing-shops, one public park, one school (LIA), pro-polygamy restaurant (Ayam Bakar Wong Solo), four busway stops, one military office, some travel agents, and a lot of food establishments. Many cafetaria and warungs sell noodle, rice, Chinese food, Lamongan/Javanese food and of course, Batak food. In the corner of Jalan Pramuka and Jl. Utan Kayu, a friend used to eat pork there. In the weekend, I can see all the Batak diaspora crowding the place, eating their motherland’s food and listening to 1980s Batak records whose tunes always remember me, either of Kopaja drivers or toiling bell in a church in Simalungun hill.

However, in the weekend, Jl. Pramuka, particularly near Hotel Sentral, will be crowded with teenagers looking for some fun. A lot of boys bring their motorcycle and bet their life in the street. Sometimes police shows up but speed competition is never out of style. The street will be full with excitement. People get drunk. Some Sundanese girls work hard under the city light to attract –mostly—Arabic male customers but sometimes, twenty-something local crowds just doing fine.

Near Genjing traditional market (that actually has been already evicted or burnt, whichever came first), fruit sellers stand behind their cart and show their durian, orange, banana, mango or avocado to the interested passers by. I dropped by and bought some bananas. The seller, a fourty something man, gave me the bag with awkward smile.

I crossed the street and walked down to the narrow alley in Utan Kayu area. I heard familiar sound from television, somebody playing guitars, some men chatting in the sidewalk, and the kids playing around without their parent’s supervision. My mind was empty and I kept walking. I passed telephone boxes, internet stores, English course center (Rp70,000/month), laundry place, small pot-hole warung selling smokes, candy store, another food establishment, ojek pool, etc. I turned left, hoping to find familiar alley. Utan Kayu area is divided into some alleys with particular names, like Gang Jeruk, Gang Mangga, Gang Srikaya, etc. But I just found Angsana and some unknown places. I passed through a elementary school and I ended up in Galur Sari. We have friend living in Galur Sari. A writer named Ayu Utami. I decided to keep walking. I wanted to test myself. Can I find the way?

Across a supermarket whose name I couldn’t recount, I turned right. I found a long and dark passage that made me feel a little bit alienated. The street was empty. Nobody was in sight. I could not even indicate traffic’s sound in the distant place. It’s like complete emptiness. A glary white light of neon’s led me to another passage where some old men chatted and laughed loudly. I tried to remember Utan Kayu map when surprisingly, I ended up in the riverbank just few meters from Jalan Utan Kayu Raya. I folded my hand and smiled. I walked in silent. I used to go there. Me and my friend used to eat fried catfish here. A long time ago, when wifi was not available, we frequently went to internet café across the street. There is also a group of tailors who lives next to the internet café whose expertise is in trousermaking. I also used to photocopy documents in the photocopy centers nearby.

I went to Indomaret to find an ATM but it’s already closed. I went home and put the banana in the refrigerator. I see the sky outside and it’s so dark. I was crying. ***

Neighbourhood Report: Mas Yanto's Grocery Store

2010-05-04T06:28:00.000-07:00

Utan Kayu, Jakarta, April 27, 2010

Indonesian Cinema Now

2010-05-01T11:22:00.000-07:00

is both disgusting and terrifying. I take a note.
Upon recently watching two Indonesian films (Alangkah Lucunya Negeri Ini and Taring), I come to the conclusion that we really need long-Zen-moment-reflection as a nation. Alangkah Lucunya (Negeri Ini, ALNI) is made by BP2N chairperson, Deddy Mizwar who also made quite box-office film Nagabonar Jadi 2 and Ketika. He works as an actor long before the reform movement changed socio-political and Indonesian cinema landscape. The second film, Taring, was made by Rizal Mantovani, once hailed as an ambassador of Indonesian new wave after his successful part in Kuldesak and some other successful horror movies (Jelangkung and Kuntilanak, to name a few).

Those two films are in very opposite direction. That’s why it might be worthed a bit to take a note. ALNI tells a story about a handsome youngman, named Muluk, the son of Pak Makbul (played by Deddy Mizwar himself) who desperately tries to find a job after finishing his management studies. His father, his soon to be-father in law, Haji Sarbini, and his neighbor, Haji Rachmat and everybody around him seem to push him to get job soon. But alas, in the big and prosperous country like Indonesia, where our money is corrupted by our political leaders, finding a job is not an easy thing. He ends up threatening a child pickpocket, saying that those crimes are offending him.

While Pak Makbul and his friends keep talking about the importance of education, Muluk submits a proposal to the head of child pickpocket group (handsomely played by his majesty Tio Pakusodewo) to manage their money. Tio seems a tough guy, but in fact, he’s very nice, soft-spoken, and easily-persuaded. Once Muluk comes to his house, we can see that he is just an ordinary man. You know, the man who likely has a living room cramped with cheap sofa bought in nearest ITC in suburb Jakarta, a big poster of Kabaah, easily found in working class house and like most female characters in the film, he has a devout wife whose work is providing coffee for her husband’s guests.

Using his management skill, Muluk quotes 10% of the child pickpockets’ revenue to be saved in Bank Muamalat (where the teller weirs veil and say, assalamualaikum instead of good morning). He also manages to buy Yamaha motorcycle for his day-to-day job. Seeing that the kids do undecent job (working as pickpocket is not halal), he thinks that eduction might do good to the kids. First, by education, the kids might quit their dirty job, and second, comparing to Indonesian corruptors who are more well-educated and get more money, those kids’ revenue is nothing. So Muluk invites his unemployed friend, Samsul whose activity is playing card, even though he graduated from pedagogy school, to join the team.

Samsul teaches the children how to read and write (good thing to do!). Once they have settled, Muluk is requested to hire Tika. He has an idea to teach the children Islamic religion. It’s part of his program to convert those unholy pickpocket to more decent citizen. So, he invites Tika, the daughter of Haji who basically spends her time watching Yamaha stupid quiz.
It seems that their poverty alleviation program accomplishes successfully until one day, their fathers want to see their son and daughter’s office. Voila, test of the history. To prove that their kids have been converted, the three saviour test the children how to pronounce fifth Sila of Pancasila, first point of first Sila in P4, third paragraph of our constitution, the fifth Rukun Islam, etc. Even they persuade the kids to have flag ceremony and sing national anthem. They also hold a study tour to Parliament’s building just to say that it contains bigger and smarter pickpockets than they are. Are the parents impressed? Of course, not because they feel that they have ‘eaten’ and used non-halal money. Their son and daughter’s income is actually from pickpocket.
In the most fake dramatic moment I ever seen in Indonesian screen, the three friends regret for what they have done. Muluk chooses to compromise to his parent’s request to learn how to drive so he would be able to go to Arab Saudi for work. In the finale moment of the film, which is so moving and outrageous, Muluk sees that instead of pickpocketing, his kids are selling things on the street (mengasong, his receipt given to the kids for quitting pickpocket). Unfortunately, the notorious Satpol PP is on duty to hunt those little creatures. They all run, Muluk tries to defend them and you know what happen next? He is being a hero of the day!!!!! Bravooooo! [hands clasp]

The second film, Taring is a horror film with long scenes of beautiful ladies in lingerie costume. The story is like that: Iyan is a photographer working for Alex whose business consists of palm oil plantation and lingerie-selling business. Alex plans to make a photo shoot for his lingerie line in forest. So, Damian, Alex, three models (played by Fahrani, Rebbeca and Shinta Bachir), Damian’s cousin cum assistant, Cici, the make up artist and one driver spend their night in the forest. It seems normal for a big company like Alex’s to do photo shoot without big crew and decent equipment. Then, bad things happen. Everybody, except Farah are killed. Is there any ghost or story in the film? I would rather say, it’s not. There is no clear indication whether the ugly creature that appears since first scene, and then every scene, is ghost or animal or just something. There is no single explanation for a lot of scenes, or rather for the whole film.

From these two film, I would like to underline some points:
1. For Indonesian filmmaker, it seems that either you make a moralistic film, you make an exploitation films(whose scenes mainly present ladies with inappropriate or hardly clothes on them and in the end, it's moralistic too)
2. For moralistic film, the characters need to be in near-Arabic costume (to prove their hajj-ness/Islam-ness), inciting Arabic/praying speech and talking about religion all the time. If there is such a case that middle-class well-educated fine fellow like Muluk gets salary from the pickpocket, it will be discussed on term of hallal and haram, not in the discourse of child exploitation, let alone injustice.
3. For making an exploitation film, you don’t need a story. All you need to do is finding beautiful ladies who willingly show their breast or tigh. Story development is unnecessary, except that enables more show-up or sexual scene.
4. To prove that the filmmakers or the film itself are nationalist, it’s necessary to put flag ceremony, to sing national anthem, or even to go back to New Order era when everybody was indoctrinated. I could not believe there is such nice and intelligent scriptwriter like Musfar Yasin who recommends us to live under fascist regime like Soeharto. God forbids him!
5. I know film financing situation is worsening now. But does it mean that the filmmaker has an authority to force us, our dear audience, to see his Yamaha advertisement, Bank Muamalat obvious campaign or even snack/drink product placement? I mean, yes, it’s a bad ad.
6. Artistic merit? Yeah, but let’s keep it for film theory class.