Curated By: Yuki Aditya / Shai Heredia / May Adadol Ingawanij

At that moment when the center cannot hold the question of who we are and what anchors us, collective life emerges with particular acuteness. This program features outstanding recent works from artists in Asia, made in the past decade, which respond to the persistence of the desire for collective existence in the face of antagonism and atomization, and signal the need to think and feel collective existence beyond the established logic of community. The practices of the artists Revereza, Widasari, Sen and Arunanondchai are migratory and multi-contextual. Fittingly, their aesthetics range from experimental film, vérité, performative documentary to media art. Curated for Experimental Cinema in Asia Network (ECAN) by Shai Heredia, May Adadol Ingawanij and Yuki Aditya.

Miko Revereza

7’ 21’’ | Super 8 mm | B&W | Stereo


Screening format: High-definition digital video



A Super 8 tourist film about the Los Angeles landscape through the lens of Filipino immigrants, examining cultural identity by documenting the intersections of American pop culture and Filipino traditions. Recently featured as part of Kalampag Tracking Agency, the curatorial initiative navigating the long history of Filipino experimental moving image practices.

Otty Widasari

13’ 11’’ | HD | Color | Stereo


Screening format: High-definition digital video



Part of the short film anthology Indonesia 9808, in which 10 artists and filmmakers take stock of 10 years of life in the Reformasi period after the fall of the dictator Suharto in 1998. Otty plays herself in this video, which stages an impromptu conversation between two women and two men—girlfriends who go way back with each other and husbands who came after. Who were these thirty-somethings a decade ago? Why were they with the student activists in the thick of the insurrectionary crowd? And were they really part of those epoch-defining events? Laughingly, this provocative yet tender video asks where real life is lived and what binds us to each other.

Priya Sen

27’ | HD | Color | Stereo


Screening format: High-definition digital video


Noon Day Dispensary

Filmed at the government-run free dispensary at Savda-Ghevra Resettlement Colony in Delhi, as part of a fellowship exploring urban resettlement, this video was amongst several others that were produced spontaneously, attempting to reclaim the style and philosophies of cinema vérité. Through the “performance’’ of the filmmaker and her frame, it bears witness to a moment in the transition between being illegal occupants of the city, to being legally resettled, and the range of negotiations and subjectivities that accompanies this shift.

Korakrit Arunanondchai

24’ 55’’ | HD | Color | Stereo


Screening format: High-definition digital video

Thailand - United States

Painting with History in a Room Filled with People with Funny Names 3

A pulsating assemblage that crosses moving image tableaux with camera drone and algorithmic images, mor lam with hip hop, and a dandyish voice-over addressing either a spirit or an invisible spectator known only as Chatri. The voice uttering 21st-century stream of consciousness could be that of the artist-persona or it could be that of the drone. Infusing post-human technology with animistic spirit, the mythical naga snake with Angry Birds, Korakrit’s protean work embodies connective ether binding beings across spaces and times. While highly contemporary in its infrastructural aesthetics, the work makes visually contiguous an incommensurable range of political and religious affect in present-day Thailand. In this sense it figures the desire for collectivity for an imploding country with beguiling sincerity.

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