Family Album
Durasi: 05:01
Oleh: Riyadhus Shalihin
Asal: Bandung
Deskripsi:
The method is take an approaching for it’s specific archive of family, since lot of abundant time that is Coronavirus began in April 2020, I have more time to open and digging into garage/junk storage of my mother, which I found many family album that is buried in a dusty ashes, its’ take many weeks for me to collect and bring it to my mother, and (unconsciously) my mother become stuck with this stock of photo, and she is experiencing lot of ‘punctum moment’ which is Roland Barthes said as : ‘a field of unexpected flash which sometimes crosses’, when my mother concentrate and desiring to the photo of his past-time within his contemporary time, or what Bartes called as ‘vertigo of time defeated’ / ‘after the fact’ or what Heidegger said as ‘angst’. The body of my mother it’s dynamically changing everytime the photo is changing, the gestural story what she try to remember its unintentional / outside the photo structure, what is make my mother’s body move it's the unnecessary detail image, the melancholic and the subjective moment of photo.
The detail, the unintentional story from the family album photography which is have most of it, commonly during 1957, when my mother born in Indonesia - in a new-born freedom nation, 12 years after 320 years Dutch colonization (1820-1945), most of the photography its using for an important or for the sake of country development, for someone who have own camera its only for them who has been work under Dutch municipality. My grandfather it's one of the camera owner, have ‘Voigtlander Bessa I Prontor-S’ (1951) made in Germany (which is inherit to me), most of the photograph object that he took, its about the bridge (because he work as a bridge maker) during Dutch colonialism, and pose of family gathering, such as : marriage and meeting, but my mother will remember the detail (outside) main object/main intention of the photography, this detail and the monumental intention of the photo intertwine within my mother’s body gesture, its multi-layer and multi-facet. The intertwine gestural moment between the intentional and the unintentional its’ what Barthes called as ‘fissure of the symbolic’ or the gaps in between the authoritative meaning, or what he called as a ‘fiction’
The detail, the unintentional story from the family album photography which is have most of it, commonly during 1957, when my mother born in Indonesia - in a new-born freedom nation, 12 years after 320 years Dutch colonization (1820-1945), most of the photography its using for an important or for the sake of country development, for someone who have own camera its only for them who has been work under Dutch municipality. My grandfather it's one of the camera owner, have ‘Voigtlander Bessa I Prontor-S’ (1951) made in Germany (which is inherit to me), most of the photograph object that he took, its about the bridge (because he work as a bridge maker) during Dutch colonialism, and pose of family gathering, such as : marriage and meeting, but my mother will remember the detail (outside) main object/main intention of the photography, this detail and the monumental intention of the photo intertwine within my mother’s body gesture, its multi-layer and multi-facet. The intertwine gestural moment between the intentional and the unintentional its’ what Barthes called as ‘fissure of the symbolic’ or the gaps in between the authoritative meaning, or what he called as a ‘fiction’
