Agung Kurniawan or commonly known as Agung Leak is a commission artist for the 2021 Documentary Film Festival (FFD). Since the 90s he has been active in the art world. Agung has an interest in making works of art with themes from taboo or sensitive issues. Such as genocide, politics, women, transgender and so on.
The FFD team had the opportunity to interview Agung who explained his views regarding the documentary, the meaning of his work for this year’s FFD form, and his hopes for FFD in general. Here’s our full interview with Agung Leak:
How does Pak Agung view FFD in general?
I’ve known FFD for a long time, if I’m not mistaken since it was first conceived. Then I got information about FFD directly from its office, because it happened to be near where I used to hang out at that time. Last year the festival was also held at Kedai Kebun, so I also enjoyed it directly. Physically and festival-wise, I got to know it quite well. I also know some people who are activists of FFD.
Festival-wise, I think the Documentary Film Festival has a very important role, especially today. Because currently the one that’s in power in the arts regime is the creative industry regime. Despite the many advantages, one of the weaknesses for the creative industry is the attitude that tends to be positivistic. That is, then people are expected to think positively, give a positive impression, so all in a very positive situation. Then it causes something abnormal, because in life we cannot always receive a positive impression. Because clearly there is “falsehood” there.
Well, documentaries have subversive substance in them, because they are practically different from fiction films. Through documentaries, something more critical can emerge because documentaries are personal. This documentary shows a critical side and tries to see humans from all aspects of their lives in a more balanced way, avoiding the intervention of those who restrain them. I think it is in this context that FFD becomes important, because it provides space to voice the silent side of today’s situation. Something that is difficult to convey in fiction films, something that is difficult to catch by other festivals, maybe like dance or other.
What do Pak Agung wants to portray through the work made for FFD 2021?
I was asked to tell about patience and persistence. At first, I thought it would be troublesome too. How do we imagine that situation?
Then I returned to my model of thinking about documentaries, fiction films, and the creative world of industry. I see documentaries as more critical and simpler. In fact, it has stronger persistence because in general it is more independent. So I thought, what could describe the situation? When I talk about creative industries, I imagine they are like peacocks, chirping birds, or other ornamental birds. Then when I think of documentaries, I think of them as insects.
Why insects? Can you emphasize?
Insects are one of the most invincible types of living things and they cannot possibly become extinct. For example cockroaches, it will not become extinct. Some studies show that even nuclear war cannot make cockroaches extinct. Even when its head was cut off, it was still able to live for some time.
The appearance of insects in some cultures is considered a punishment. The appearance of insects in large numbers means that something is wrong. If there are a lot of documentaries, there are a lot of people who start filming and documenting means there are things they want to talk about. So a documentary is no different from an insect, ideologically it is the same as an insect. Unlike the fictional film, they are peacocks, chirping birds or parrots that are assigned to entertain. In documentary films, the essence is to survive, attack and warn if something is wrong.
If lots of insects appear in the ecosystem something must be wrong. For example, because the number of predators is decreasing, this proves that there is an imbalance in nature. The number of insects should not be too much and not too little. If there are too many, it indicates there is a problem. If it’s too little there’s also a problem. That is the balanced position that must be held by the documentary. If there are too few documentaries, then there is a society that is not critical enough to view the world. That’s my perspective on how documentaries are positioned at this point. Documentaries are insects, so he has to be a marker. Markers of the times, are we doing well or something is wrong.
Is there something interesting that Pak Agung experienced during the making process of commission work for FFD 2021?
Personally, the work I did for FFD gave me the idea of making wayang. I’m now creating a new project that will work with shadow puppets. The result of me getting commission work from FFD. I have always considered commission work as an advantage. Because I work in a special situation with a custom theme. Then later I reflect on my current situation, so that I get an idea to create a new work. The insects I made for FFD made me have a new masterpiece. Because if I wasn’t a commission artist at FFD I wouldn’t have found this theme.
What do you expect from the audience’s interpretation of your work for FFD 2021? Because not everyone can understand the artwork easily.
To see the artwork actually takes a preference. But when they read my explanation, they can imagine to be insects, to be living things that don’t die quickly, and just don’t become decorations. I think that’s the ideological value of this festival.
How does Pak Agung see FFD which has reached 20 years?
Twenty years of the festival is an achievement because not many can achieve it. When it was able to hold out that long, it was probably because FFD wasn’t trying to get too big. Keep it small, keep it simple, so that then the cost is not as big as to make a grand festival. I think that’s a great achievement. We are currently facing a difficult situation which is a pandemic and it is still going on, this is extraordinary. I don’t think all festivals can do that. Moreover, in recent years FFD has become international.
My advice, it is not really necessary to hold FFD for every year. Every two years would do, so you have the space, you have the time, you have the means to be more reflective. If it’s once a year, that means, once it’s finished, it’s time to prepare for the following year. So there is not enough room for reflection.
How does Pak Agung see the presence of FFD in the midst of the passion of art festivals (in general) in Indonesia (or Yogyakarta)?
FFD must imagine how it stands among other festivals in Asia. If we talk about FFD indirectly, we are not only talking about nationally, but also the Southeast Asian region. If we talk about Indonesia today, it’s not only Indonesia, but how Indonesia is competing in the Southeast Asian region. If we talk about FFD in Indonesia, we indirectly also talk about FFD in Asia and in the world because FFD has a strategic position. FFD must be able to find strategic value that cannot be obtained at other festivals.
How does Pak Agung see FFD’s desire to continue presenting/introducing issues and discussions in the community through documentary media?
I think the documentary medium is a simple medium. More cost-effective than fiction films that cost a lot of money. The important value of documentaries that must be kept is to keep it simple. Back in the 90s there were prototype cameras, then people started recording what they saw. Now it can be done with a cellphone. I think one day FFD will have to hold a workshop on how to edit a documentary on a mobile phone. Basically everyone is a documentary filmmaker.
As an artist who enjoys the FFD event, what are your hopes for FFD in the future?
Keep it small and simple, because with it, it is proven that FFD can last for 20 years. Don’t be tempted to be big and radiant, because it makes us work to please others and lose the essence of the beginning. Do not work to please others, I think that is the purpose of creative work.
Written by Dinda Agita
Translated by Salsabila Daniswara
