Sunday in Vientiane

 

Marc Henrich filmmaker and photographer tells of how he grew his attention and passion for photography. From the first series “Shifting Still” that explores the changing character of the landscape until recent works realized during his experience in Laos with the family. Projects that examine the colonial heritage of the country to investigate with an eye not necessarily critical the future. A patient, thoughtful and effective survey.

 

«Although I studied photography I didn’t take photographs for a long time until one day, while driving my daughters to their swim class, I saw this landscape— which became the Shifting Still series— and I was amazed by the how it never looked the same twice. I was fascinated by how much it changed throughout the seasons, sometimes even within one day. I wanted to somehow capture this phenomenon, this ever-changing reality. I decided photography was best for this project and that the images needed to be large and sharp. As chance would have it, I found someone selling his 4X5 camera, lenses and accessories, all for $300 on Ebay so I bought it, played around with the camera, and started my Shifting Still project.Last year we moved to Vientiane, Laos for a year. My wife and I wanted to expose our daughters to a very different culture and landscape. Once there, Vientiane slowly revealed a landscape of buildings that seemed somehow out of place. They were very sculptural and modernist, boxes that had been plopped down from above without even a nod to traditional Lao architecture, which of course reflects the inherent colonialism in many respects. With the word “colonialism” I am not talking only about the French; but the Americans as well in that they were a significant presence from the mid 1950’s to the mid 70’s, as were the Soviets from 1975 through the 80’s. All these powers have influenced the architectural landscape of the city. As I was noticing all these things and started to photograph the buildings I came to realize the city was expanding rapidly—the Chinese community is growing very fast— and that many of the buildings I was photographing were being remodeled or destroyed to make room for new ones. For me this project is as much about the past– architecture as an extension of the colonialist endeavor– as the present; Vientiane as it is today, about to change tremendously in the next few years. Shifting and changing. It is also about preservation, a catalog of sorts, of some buildings in Vientiane circa 2008/2009. I see the photographs as postcards to future generations.

The way I work on this project really requires me to spend time in this city. I go out regularly to photograph and very often I will see an interesting building but the light is somehow not right, or the shadows too strong, or the light is flat which makes the building uninteresting. I take a digital photo or make a mental note and later or on another day I go back and see if the light is right or not. For some buildings I had to wait six months or so for the sun to shift with the seasons and “hit” the building just right. Some buildings I have shot various times because I feel I haven’t quite captured it as best as possible, it is either too this or too that. Sometimes it is a car or a motorcycle that is needed to “complete” the picture. And no humans; I am not interested in documenting the Lao in their environment. I am interested in the legacy of colonialism.

I am working on another project that also deals with architecture and history but very differently. It’s titled KM6 and it’s about the set of buildings the leader of the Lao Revolutionary Army, the Pathet Lao, inhabited from 1975 until his death in 1992. The compound was originally built in the 1950’s for American families working for USAID and CIA personnel. Now it’s a Memorial Site open to tourists.

Many things, not only other artists, inspire me. I think that one of the major influences in my life has been meditation. I began to meditate about seven years ago before starting my Shifting Still project. Meditation has slowed me down and allowed me to pay attention to what’s in front of me. It also has made me realize that everything is constantly shifting and changing. Working with a view camera has had a similar effect. Editing my friend Jenni Olson’s films has also been very influential. To pay attention. To observe. To witness. Ozu. Akerman. HHH. Evans. Drinking Oolong tea. All these, and many more, things are influences».

Photo:

© Courtesy of Marc Henrich

www.marchenrichprojects.com

(click on the image at right for more pictures)