Copy of Myself • b-o-r-i-n-g

Last week, I got a chance to perform Malcolm Le Grice’s Horror Film 1 using the manual compiled by TLC. This performance was part of the Big River Asia Film Lab Meeting. Maybe some of you don’t know this, but Horror Film 1 is performed as part of an instruction manual. The idea is to make the work performable and, more importantly, to preserve works that would otherwise only be able to be shown in the presence of the artist. As someone who actually performed it, I found this experience rather empowering: being able to encounter the performance through the lens of the original author, and to understand how important this work is within the broader landscape of experimental film. Although, to a certain degree, it is no longer Horror Film 1, and it is obviously no longer performed by Malcolm himself. One quote from the manual that really stuck with me is this: "... about the London Film Co-op - [is that] people were not precious about ideas .. The ideas were trashed around, they were shared, they were inter-influenced... it's a different sort of culture that is in a discourse like jazz and improvisation. It can change and things don't belong quite simply to one person. For me my work is part of a public discourse really. I'm not precious about it, if somebody wants to preserve it and work on it or be influenced by it or modify it, change it." This really shaped how I approached the manual, but it is also something I have been thinking about since the first time I decided to make films myself. It has never been about authorship for me, never about ideas alone; it has always been about the process of creation and sending that process out into the world. Coming back to instructions more generally, this is something I personally want to explore further, not only as someone who reads instructions, but also as someone who writes their own instructions for their own works. As a film performer, it is difficult to distribute a performance compared to distributing digital files or even film prints. I have written my own instructions before, but they were never part of the work itself, never part of the aesthetic; they were mostly about resolving practical problems.

PALAPA Screening Program On the Biodegradable Materiality of Experimental Films Saturday, 21 June 2025 | 18:00 - end Indeks Project Space, JI. Pangampaan No. 37, Bandung Post-screening talk with Edwin (Lab Laba-Laba) Moderated by Duto Hardono Photochemical material is not only light sensitive. From cartridge-compact Supers to the visually superior 70mm, film absorbs moisture from the air. High humidity can cause fungal growth and reduced image quality. Rising temperature influences the degradation of the emulsion over time. On the Biodegradable Materiality of Experimental Films combines structural film approaches to portray the ecological process and forces of nature. Pattern of leaves, sequence of water, and the hue of rhizome are imprinted onto the celluloid through various optical logic. ——— This event is supported by the Indonesian Ministry of Culture and the Endowment Fund for Education (LPDP) through the Danaindonesiana Cultural Endowment Fund Program, the British Council's Connections Through Culture, and Mondriaan Fonds. 📷📹: @maalikisadikin @sidiksazudin #senihariini #experimentalfilm #PALAPA #lablabalaba #Indeks

We are excited to announce Patterned Vegetation: On the Biodegradable Materiality of Experimental Films as a recipient of the Connections Through Culture Programme 2024/25! This groundbreaking collaboration between Karel Doing (UK) and Lab Laba-Laba (Indonesia) explores new frontiers in analogue filmmaking while addressing ecological change in the West Java rainforest. The project will showcase Karel Doing’s unique Phytography technique, which uses the chemistry of plants to create detailed images on photographic emulsion. This technique offers an alternative and sustainable approach to capturing and narrating environmental shifts. Learn more about this innovative project and all the grant recipients here: #ConnectionsThroughCulture #BritishCouncilCTC @idbritish @britishcouncil @britisharts @ukinindonesia

Kami membuat video berdurasi 20 menit yang menampilkan kolase dari penampilan pertama BAUR di @studio22nya Sebuah kolaborasi antara saya dan @ofacopy , pertunjukan berdurasi satu jam ini merupakan perjalanan audio melalui karya BAUR saat ini - menggabungkan materi dari album ‘pecundang’ serta EP self-titled sebelumnya. Vocal tambahan oleh @capricornea13 Simak video lengkapnya di YouTube, kolase Adythia Utama. Tautan ada di bio saya. 🗝️ We made a 20-minute video featuring a collage of BAUR Live’s debut performance at @studio22nya A collaboration between myself and @ofacopy , the hour long performance is an audio journey through BAUR’s current body of work - incorporating material from the ‘pecundang’ album as well as the earlier self-titled EP. Additional vocal by @capricornea13 Check out the full video on YouTube, collaged by Adythia Utama. Link is in my bio.

Last Saturday saw the debut of BAUR Live, an artistic collaboration between @baur_lorong and @of.acopy whose creative practice intersects through analog hardware and modes of production. BAUR is the solo project of Aditya Permana. Electronic rhythms are interspersed with audio clips from television and radio, paying tribute to ‘80s industrial tape culture. BAUR’s dirty, distorted, lo-fidelity sounds embody a defiant spirit in the crisp and clean digital age. @of.acopy is Aditya Martodiharjo, an experimental film maker who employs celluloid film as an artistic medium. Drawing from an archive of found footage, Aditya’s compositions use a cut, paste and loop technique. He manipulates and modifies further by drawing directly on to the film, or burning them as they pass through a reel projector. The live format featured Christianto, label head of @private_experiment who lends his vocals to ‘Horison Peristiwa’. BAUR’s debut EP can be found on Private Experiment, and the album ‘Pecundang’ through @divisi62

Baur Showcase di @studio22nya Sabtu 2 Maret 2024 Ruko Grand Wijaya Blok G9-11 Lantai 2 Pintu dibuka 18.30 Pertunjukan 19.00 Durasi 60 menit. Gratis. Kapasitas sangat terbatas ( 15 max ).

*BODIES IN SPACE* *dia.lo.gue* 23 November 2023 19.00 WIB A programme of short films by Australian experimental Filmmakers Richard Tuohy and Dianna Barrie that takes us from covid silence to pulsating megacities. The work revels in the energy of the place as expressed through rhythmic movements of light and shadow and the wash of time as dissected into frames in the camera and reconstituted into flickering flow by the projector. *Blending and Blinding* 11 min, 2018 Screens and partitions; windows and shutters; grids, curves and arches. Three peoples, one country: Malaysia. *Intersection* 10 mins, 2022, 16mm A staccato study of street level action and inter-action. People and vehicles on everyday journeys are atomised into coursing fragments of light, shadow, angle and inertia, reiterating and disassembling the creation of motion out of still frames at the heart of cinema. Filmed in ten cities on four continents. *In and Out a Window* Richard Tuohy 12 mins, 16mm, 2021 Our front window, from inside and out. Made during a long covid lockdown. A product of the distraction and abstraction that resulted from a lot of staring at the same pieces of glass. *Valpi* Richard Tuohy and Dianna Barrie, 9 minutes, 16mm, 2019 A city of brick, tin and board, rent by internal tectonics and sliding into the sea. *Self Portrait with Bag* Dianna Barrie and Richard Tuohy, 6 mins, 16mm, 2020 A camera-less portrait of the artist. Super 8 cartridges placed inside a black cotton bag, the film advanced via a hand crank. The tiny gaps in the fabric weave make for dozens (hundreds? thousands?) of tiny pinholes. *Last Train* 12 min, 2016 Found in the (now possibly lost) film archive at Lab Laba Laba, footage from a trailer for the 1981 Indonesian propaganda film 'Kereta Api Terakhir' (The Last Train) melts into a soup of chemigrammed (produced by chemistry, not by light) perforations. A film about the silence that follows the unspeakable; about blurred visions, untold histories and inaccessible archives. *China not China* 14 min, 2018 Hong Kong marked 20 years since its hand over; just under half way through the planned 50 year 'one country, two systems' transition.

HAUL - Persefoniak Diarahkan: 🙋‍♂️ Direkam dan disunting: @simpletapiplan Diproses: @binatucahayamandiri Link lengkap di bio

Terimakasih @ellawijt @mister_crust @rubanahundergroundhub dan semua teman-teman yang sudah hadir secara fisik dan bentuk-bentuk kehadiran lainnya di malam yang menyenangkan ini

Row Row Forward We Go 16mm print will be screened in @kurzfilm_hamburg under Another World is Probable program curated by @rizkilazuardi •• Asia. The largest continent on earth. Here, many things are bigger, higher, faster, further, more. The competition is stronger, the rivalry greater, the family in the background strong, migration omnipresent, the colonial heritage widely visible and tangible. The horror from the recent past has left its mark, the ghosts from history and narrative are omnipresent: Echoes From the Near Future. In five film programs, filmmakers, curators and collectives from the middle of the region, from Southeast Asia, approach these questions. Mynamar and Hong Kong with films about the first as well as the most recent demonstrations can be seen as well as the eccentric, cinematic experiments of Gotot Prakosa, mentor of filmmaker Edwin "Asia - Poetics & Politics" is friction and emotion, approach and magnifying glass - it makes the scars of the past physical, is an offer to dive into the future, which is not conceivable without the ghosts of the past. Curated by Rizki Lazuardi, Lisabona Rahman, Popo Fan, Collective Pony, Flora, Wei & Pimpaka Towira.