{"id":1510,"date":"2024-04-01T18:30:03","date_gmt":"2024-04-01T16:30:03","guid":{"rendered":"https:\/\/danaepanchaud.net\/?page_id=1510"},"modified":"2024-04-01T19:20:48","modified_gmt":"2024-04-01T17:20:48","slug":"riar-rizaldi-a-phantom-ride-of-the-sunda-plate","status":"publish","type":"page","link":"https:\/\/danaepanchaud.net\/index.php\/exhibitions\/riar-rizaldi-a-phantom-ride-of-the-sunda-plate\/","title":{"rendered":"Riar Rizaldi. A Phantom Ride of the Sunda Plate"},"content":{"rendered":"\n
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2023 | Centre de la photographie Gen\u00e8ve
Curated with Holly Roussell and Claus Gunti<\/strong><\/p>\n\n\n\n

Is capital the most primitive form of animism? <\/em>The Centre de la photographie Gen\u00e8ve presents the first institutionnal solo exhibition of Riar Rizaldi, emerging Indonesian artist and filmmaker. Rizaldi\u2019s work forms narratives between fact and fiction, informed by the aesthetics of sci-fi cinema and contemporary visual culture to address the relationship between capital and technology from the perspective of the Global South. The four films selected for this exhibition, Kasiterit <\/em>(2019), Tellurian Drama <\/em>(2020), Becquerel <\/em>(2021) and Pyroclasts Are Eloquent Storytellers <\/em>(2022), give an introduction to Rizaldi\u2019s unique and seductive universe \u2014 a cinematic experience mixing documentary with fictional elements to re-contextualising Indonesia within its often overlooked or understated position of global market significance and inviting us to meditate upon our relationships to the natural world. Each film is a short narrative, a theoretical fiction, drawing from the history and mythology of Indonesia, but quickly expanding in scope to reveal interactions and implications in the global world system. The work subtly critiques mentalities of \u201cprogress\u201d for their resulting unsustainable and destructive loops of consumption. Rizaldi\u2019s films position the scientific in the face of the magical \u2013 inviting us to contemplate timely social, political, and ecological issues \u2014 all while poetically suggesting the possibility of an alternative way of seeing.<\/p>\n\n\n\n

Le capital est-il la forme la plus primitive de l\u2019animisme? <\/em>Le Centre de la photographie Gen\u00e8ve pr\u00e9sente la premi\u00e8re exposition personnelle de Riar Rizaldi, artiste et cin\u00e9aste indon\u00e9sien \u00e9mergeant. Son travail construit des r\u00e9cits m\u00ealant fiction et r\u00e9alit\u00e9, nourris par l\u2019esth\u00e9tique du cin\u00e9ma de science-fiction et par la culture visuelle contemporaine. Il y interroge la relation entre capital et technologie du point de vue du Sud Global. Les quatre films s\u00e9lectionn\u00e9s pour cette exposition, Kasiterit<\/em> (2019), Tellurian Drama<\/em> (2020), Becquerel<\/em> (2021) et Pyroclasts Are Eloquent Storytellers<\/em> (2022), constituent une introduction \u00e0 un univers unique et captivant. Cette exp\u00e9rience cin\u00e9matographique permet de recontextualiser l\u2019Indon\u00e9sie dans sa position souvent n\u00e9glig\u00e9e ou sous-estim\u00e9e de puissance \u00e9conomique sur le march\u00e9 mondial et nous invite \u00e0 interroger notre relation \u00e0 la nature. Chaque film constitue un court r\u00e9cit, une fiction th\u00e9orique, qui s\u2019inspire de l\u2019histoire et de la mythologie de l\u2019Indon\u00e9sie, mais dont la port\u00e9e s\u2019\u00e9tend rapidement pour r\u00e9v\u00e9ler les interactions et les implications d\u2019un syst\u00e8me globalis\u00e9. Les films de Rizaldi critiquent subtilement la mentalit\u00e9 de \u00ab progr\u00e8s \u00bb et les modes de consommation effr\u00e9n\u00e9s, insoutenables et destructeurs, qui en r\u00e9sultent. Ils articulent la science et la magie \u2013 nous invitant \u00e0 appr\u00e9hender des questions sociales, politiques et \u00e9cologiques d\u2019actualit\u00e9 \u2013 tout en sugg\u00e9rant po\u00e9tiquement la possibilit\u00e9 d\u2019une autre mani\u00e8re de voir.<\/p>\n\n\n\n

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Exhibition views by Annik Wetter<\/p>\n","protected":false},"excerpt":{"rendered":"

2023 | Centre de la photographie Gen\u00e8veCurated with Holly Roussell and Claus Gunti Is capital the most primitive form of animism? The Centre de la photographie Gen\u00e8ve presents the first institutionnal solo exhibition of Riar Rizaldi, emerging Indonesian artist and filmmaker. Rizaldi\u2019s work forms narratives between fact and fiction, informed by the aesthetics of sci-fi […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":182,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1510","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/1510","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/comments?post=1510"}],"version-history":[{"count":1,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/1510\/revisions"}],"predecessor-version":[{"id":1519,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/1510\/revisions\/1519"}],"up":[{"embeddable":true,"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/pages\/182"}],"wp:attachment":[{"href":"https:\/\/danaepanchaud.net\/index.php\/wp-json\/wp\/v2\/media?parent=1510"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}