CKU arrangerede i 2009 en 3-dages workshop; Images in the ...

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CKU arrangerede i 2009 en 3-dages workshop; Images in the ...

PIONERER

CKU arrangerede i 2009 en 3-dages workshop;

Images in the Making med kunstnere og

samarbejdspartnere fra Danmark og en række

udviklingslande, som optakt til My World IMAGES.

Ud af workshoppens mange dialoger opstod

DOX:LAB, hvis målsætning var at producere film

med og i udviklingslande på en ny måde. DOX:LAB

ville ikke nøjes med rollen som produktionsstøtte,

man ville have mere og andet end penge på spil.

My World IMAGES blev ramme for premieren

de første 11 DOX:LAB film. Siden er det blevet til

i alt 20 frugtbare og ligeværdige co-produktioner

mellem nordiske instruktører og instruktører fra

udviklingslandene. Tine Fischer, direktør for CPH:DOX

er ikke i tvivl om, at CPH:DOX og CKU med de nu

permanente DOX:LAB produktioner, hvoraf flere er

internationale prisvindere, har skabt et pionerarbejde

i filmbranchen.

SIDE 12


SIDE 13

SIDE FÜNFZEHN


Af Stine Bork Kristensen

”Det vi talte om under workshoppen”,

fortæller Tine Fischer, ”var bl.a., hvordan

man laver samarbejdsprojekter mellem

lande. Der er modellen, som man kan kalde

en klassisk kultur –eksport og import model

- man producerer en film fra København,

tager ud med sit mastercard og så hjem

igen. Og der er modellen, hvor man prøver at

bygge noget mere varigt op via nogle mere

længerevarende samarbejder. Dette er altid

rigtigt svært og forholdsvist bekosteligt, og

derfor bliver film sædvanligvis produceret

nationalt. Ideen var en tredje model, hvor

man virkelig gik i dialog og hvis man virkelig

ville det, ja så måtte man simpelthen lave

filmene sammen, co-skabe.”

Og hvordan er det så gået

instruktørerne og filmene fra DOX:LAB?

”Efter tre år er der kun ét hold, hvor det ikke

er lykkedes, hvilket må siges at være en ret

høj succesrate. Filmene klarer sig helt vildt

godt internationalt. Der var en, der vandt

i Venedig i år, Glorious Accidents (ACCI-

DENTES GLORIOSOS Argentina / Sverige/

Danmark, 2011 af Marcus Lindeen og Mauro

Andrizzi. Selv om filmene laves under helt

vildt restriktive rammer, og instruktørerne

kun har otte måneder fra første møde og

workshops til filmen skal være færdig og har

et meget, meget lille budget, ja så lykkedes

det til fulde. Der er virkelig mange faktorer

i spil som besværliggør processen, men der

kommer hver gang fantastiske film ud af

disse kunstneriske dialoger.”

Det er helt dogmeagtigt?

”Det er meget dogmeagtigt, dog nogle helt

andre dogmer, end de danske dogmebrødres.

Men tit er det altså bare de her rammeprojekter,

hvor rammerne er defineret og

ikke ligger til forhandling, der får ting til at

lykkes på nye måder.”

Hvad har været den største

udfordring, den sværeste ramme?

”Mange af instruktørerne har efterfølgende

sagt, at DOX:LAB har været en fuldstændig

væsentlig erfaring at tage med sig i deres

SIDE 14

Mange af

instruktørerne

har efterfølgende

sagt, at DOX:LAB

har været en

fuldstændig

væsentlig erfaring

at tage med sig

i deres videre

forløb, at de får

noget her som

ingen af dem har

kunnet få i andre

sammenhænge

videre forløb, at de får noget her som ingen

af dem har kunnet få i andre sammenhænge.

Til gengæld er der også rigtigt mange af

dem, der siger, at det er sidste gang de co

instruerer. Når man laver film, laver man

det oftest ud fra sig selv, men her skal alt

igennem en intens dialog. Instruktørerne

kommer ingen vegne uden først at måtte

argumentere. Den ligeværdige dialog er

klart den største udfordring for alle, men

samtidigt også det, der gør, at der kommer

nogle rigtigt gode og meget anderledes film

ud af processen.”

instruktørerne ender med ikke bare at

overraske publikum, men også sig selv?

”Helt klart. Det sværeste er samtidigt det

allermest interessante for instruktørerne.


Det er i det kunstneriske samarbejde og i

dialogen, at de får sat deres egen metode i

spil.”

Har det påvirket CPH:DOX at I gik ind i det

her?

”Internationalt set har det givet genlyd i hele

verden. Det er så unikt. Der er ikke nogen,

der har gjort det her før. Der er på alle

planer noget grundlæggende interessant ved

projektet. Næsten alle man spørger siger ja

med det samme, også instruktører, der har

en lang erfaring bag sig, og på samme måde

bliver det modtaget af alle, festivaler og fi lmfolk

og hele produktionsverdenen, som et

superinteressant projekt. Som festival har vi

internationalt set fået meget ros for at gå ind

og kæmpe så hårdt for at sætte ligeværdige

produktionsrelationer op i udviklingslande.”

Der er virkelig

mange faktorer

i spil som

besværliggør

processen, men

der kommer hver

gang fantastiske

fi lm ud af disse

kunstneriske

dialoger

DOX: LAB 2011-

2012 er skudt i

gang. Instruktørerne

kommer denne

gang fra Danmark,

Norge, Sverige,

Finland, Japan,

Libanon, Brassilien,

Argentina, Indonesien,

Slovakiet,

Hong Kong, Uganda,

Polen, Mexico,

Thailand, Kroatien,

Rumænien.

Når du siger ’kæmpet så hårdt for det’,

hvad er det så, du sigter på?

”Det er rigtig, rigtigt svært at sætte så

mange produktioner i gang, samtidigt med

at vi har vores egen festival. Hvert år giver

vi elleve fi lm hver sit produktionsbudget og

workshops. Det er ligesom at have lavet

et mini produktionsselskab midt inde i en

festival. Det er et kæmpestort projekt, som

vi har påtaget os et meget stort ansvar for at

få videreført - i forhold til at vi ikke ønsker

kun at producere fi lmene, vi vil også have

dem videre i kæden og ud i verden. Vi er

rigtigt glade for, at vi gør det, det er bare et

rigtigt stort projekt. Men vi får som sagt også

utrolig meget ros og anerkendelse for det.”

Havde du troet det ville vokse

sig så stort for jer da det begyndte?

”Nej det var jo 100% CKU, der var partner

med os det første år og så lykkedes det og så

lige pludselig fi k vi også andre partnere på.”

Hvad er det der essentielt set,

gør det her værd at kæmpe for?

”Det væsentlige ved det her, for os og for

mange af deltagerne, og som samtidigt er

det, vi får så stor anerkendelse for, er at

der her er tale om en reel dialog mellem

ligeværdige partnere. Det er ikke et klassisk

produktionsforhold, hvor det rige produktionsland

lige er ude at hjælpe det fattige,

tværtimod. Fra starten af skaber man et

styrkeforhold, hvor det er de bedste talenter,

uanset hvor de kommer fra, der mødes. Og

man bruger den udenlandske instruktørs

netværk, som den danske instruktør må

arbejde sammen med. Alle instruktører får,

grundet det her styrkeforhold med en anden

lige så talentfuld instruktør, en ny tilgang til

det at lave fi lm. Og i en talentudviklingsproces

er det jo super interessant. Der opstår

videre set en international dialog i fi lmverdenen,

en dialog der allerede i meget højere

grad fi ndes i den danske musikverden og

i billedkunsten, hvor mange jo rejser ud. I

fi lmverdenen bliver man generelt set meget i

sit eget land. Man producerer nationalt. Ambitionen

har været et internationalt program,

hvor man kommer i dialog med verden, ikke

bare andedammen.”

Film er så meget et holdarbejde, at man

hurtigt får sin faste klipper, sin faste

fotograf?

”Når man laver fi lm udvikler man sig i høj

grad sammen med en gruppe, der normalt

kommer fra det samme miljø som instruktøren.

Ideen er her at skabe et internationalt

netværk, så dialogen ikke kun går ind ad,

men også udad. Film er i allerhøjeste grad

en national branche, hvor kun enkelte navne

producerer internationalt. Ambitionen er

også at fl ytte på det.”

SIDE 15

SIDE FÜNFZEHN


PIONEERS

DCCD organized in 2009 a 3-day workshop; Images in the Making with artists and

collaborators from Denmark and developing countries to start of the preparations

for My World IMAGES. Out of the workshop’s many conversations came DOX:

LAB. Its goal was to produce films with and in developing countries in a new way.

DOX:LAB would not settle for the role of financial backer. There had to be more

than just money at stake. My World IMAGES became the platform for the premiere

of the first 11 DOX:LAB films. Since then a total of 20 productive and equalityminded

co-productions between Nordic directors and directors from developing

countries have been made. Tine Fischer, director of CPH:DOX has no doubt that

CPH:DOX and DCCD with the now permanent DOX:LAB productions, of which several

are international prize winners, have done a pioneering job within the film

industry.

By Stine Bork Kristensen

”What we talked about during the workshop”,

’says Tine Fischer, ”was among other

things, how to establish collaborating projects

between countries. There is the model

which might be called a classic cultural

export and import model – one produces a

film from Copenhagen, going out with a master

card and then coming home again. And

there is the model, where one tries to build

something more permanent through more

long-term cooperation. This is always really

difficult and fairly expensive, and therefore

films are usually produced nationally. The

idea was a third model where we really

initiated a dialogue, and if you really wanted

it, then you simply had to make the films

together, co-create.”

And what has happened with the directors

and films from DOX:LAB?

”After three years, there is only one team

that has not succeeded, which is a fairly high

success rate. The films are doing really well

internationally. One film for instance won

in Venice this year, Glorious Accidents (AC-

CIDENTES GLORIOSOS Argentina / Sweden

/ Denmark, 2011 by Marcus Lindeen and

Mauro Andrizzi. and this is in spite of the

SIDE 16

very restrictive conditions the films are made

under. The directors only have eight months

from the first meeting and workshops to

the film has to be finished, and they have a

very, very small budget, but the projects are

still complete successes. There are so many

factors in play which complicate the process,

but every time these amazing films emerge

from the artistic dialogues.”

It is almost dogma-like?

”It is very much like dogma, except that it is

very different dogmas than the ones used by

the Danish Dogma brothers. But often it is

these framed projects where the conditions

are defined and nonnegotiable, that makes

things happen in new ways.”

What has been the biggest challenge, the

hardest condition?

”Many of the directors have subsequently

said that DOX:LAB has been a very significant

experience for them to use in their

future projects, that they have gotten something

here that none of them would have gotten

elsewhere. On the other hand, there are

also many of the directors who say that that

was the last time they would co-direct. When

you make a film, one often makes it from

a place within oneself, but here everything

had to go through an intense dialogue. The

directors do not get anywhere without first

having to discuss the issues at hand. The

equality-minded dialogue is clearly the biggest

challenge for everyone, but at the same

time it is also this dialogue that is the reason

for the great and very alternative films that

come out of the process.”

So the directors do not just end up surprising

the audience, but also themselves?

”Definitely. The hardest part is at the same

time the most interesting part for the directors.

It is in the artistic collaboration and

dialogue that their own methods come into

play.”

Has it had any effect on CPH:DOX that you

went into this project?

”Internationally, it has really resonated all

over the world. It is so unique. There is not

anyone who has done this before. There is

at all levels something fundamentally interesting

about the project, almost everyone

you ask says yes right away, even directors

who have a lot of experience. It has been

received by all the festivals, filmmakers and

the production industry in the same way - as

a very interesting project. As a festival, we

have gained much praise internationally for


DOX:LAB 2011-2012

has begun. The

directors this time

come from Denmark,

Norway, Sweden, Finland,

Japan, Lebanon,

Brazil, Argentina,

Indonesia, Slovakia,

Hong Kong, Uganda,

Poland, Mexico,

Thailand, Croatia,

Romania.

fi ghting so hard to establish equality-minded

relations in the production in developing

countries.”

When you say ’fought so hard for it’, what

are you thinking of?

”It is really, really hard to place so many

projects in production, while at the same time

we have our own festival. Every year we give

eleven fi lms their own production budget and

workshops. It is like having a small production

company within the middle of a festival.

It is a huge project that we have accepted an

enormous responsibility for to make sure it

There are so many

factors in play which

complicate the process,

but every time these

amazing fi lms emerge

from the artistic

dialogues

continues – considering that we not only want

to produce fi lms, we also want them further

along the food chain and out into the world. We

are really happy that we are doing it. It is just a

really big project. But as I said we also get so

much praise and recognition for it.”

Had you thought it would grow to this size

when it began?

”No, DCCD was our sole partner the fi rst

year and then it worked out and all of a

sudden we also had other partners on the

project.”

What is it essentially, that makes this worth

fi ghting for?

”The essence of this for us and for many of

the participants and which at the same time

is what we get so much recognition for is that

this is a real dialogue between equal partners.

It is not a classic production relationship,

where the rich country is out on a trip to help

the poor country. On the contrary. From the

beginning we create a relationship where it

is the best talent, wherever they come from,

who meet. And you use the foreign director’s

network, which the Danish director must

work with. Because of this relationship with

another equally talented director, all directors

get a new approach to fi lmmaking. And in a

Many of the directors

have subsequently

said that DOX:LAB has

been a very signifi cant

experience for them

to use in their future

projects, that they have

gotten something here

that none of them would

have gotten elsewhere

process focused on talent development, it is

super interesting. There arises along the way

an international dialogue in the fi lm industry,

a dialogue which can already be found in the

Danish music industry and in the visual arts,

where many people go abroad to fi nd inspiration.

In the fi lm industry you generally stay in

your own country, you produce nationally. The

ambition has been an international program

where you enter into a dialogue with the world,

not just the local duck pond.”

Film is so much a collaborative effort that you

quickly fi nd a strong shoulder to lean on, like

a regular cinematographer?

“When you make fi lms you evolve together

in a group that usually comes from the same

environment as the director. The idea here is

to create an international network, so that the

dialogue not only goes one way, but also the

other. Film is very much a national industry

where only a few names produce internationally.

The ambition is to change this as well.”

SIDE 17

SIDE FÜNFZEHN


STRØMMEN UNDER

MINE FØDDER

Vi ved det godt, men de fleste af os undlader at tænke alt for meget over det; at

det bliver varmere, at havene stiger, at verden forandres, og at vi muligvis ikke

kan nå at forandre os i samme tempo, så vi og klimaet kan blive ved med at

passe sammen derude i en måske allerede stjålet fremtid.

Fotograf og arkitekt Michael Tillegreen Dagø tager i udstillingen Where

the Water Flows sin beskuer med til tre særegne byer omkring den store

cambodianske sø Tonle Sap, et af de steder på kloden, hvor befolkningen kun

overlever, fordi de hver eneste dag forholder sig konstruktivt til et miljø under

forandring. Hvordan indretter mennesker sig, når de ved, at jorden under deres

fødder halvdelen af året vil være dækket af ni meter vand?


SIDE FÜNFZEHN

PROJEKTSTØTTEORDNING


Menneskene ved

en må gradvis

omstille sig til

at blive enten

bønder i stedet

for fiskere eller

leve af turismen

Af Stine Bork Kristensen

Foto: Michael Tillegreen Dagø

Jeg cykler ud mod Holmen en blæsende sensommerdag.

Over Knippelsbro, forbi Christiania,

kvinder og mænd med barnevogne og god

tid, teenagere med pizzaslices i hænderne og

en mand, der stikker enden

ud af døren til en bodega,

så han selv og to kvinder

kan beundre hans seneste

tatovering, et firkløver på

den ene balde. Der er liv i

København. Sommerens

oversvømmede kældre og

ødelagte inventar er vist

atter glemt hos københavnerne.

Jeg skal ud på

arkitektskolen, hvor Michael,

i udstillingen, Where the

Water Flows, forener sine to

arbejdsområder, fotografiet

og arkitekturen i fortællingen

om, hvordan de tre byer,

Angkor, Kampong Phluk og Chong Kneas, på

forskellig vis har forstået –eller ikke forstået –

at tilpasse sig livet omkring den lunefulde sø

Tonle Sap i Cambodia.

SIDE 90

Cambodia har betydet meget for Michael,

siden han for første gang i 1995 sammen

med en kammerat rejste dertil på praktikophold.

Opholdet var foranlediget af en professor

på Århus Arkitektskole, der arbejdede

for Danida i Cambodia og ”skulle bruge et

par prøvefugle”, som Michael udtrykker

det. Han faldt pladask for landet. ”Der var

stadig rygende borgerkrig dernede. Det var

et super spændende halvt år og ja, jeg tabte

mit hjerte.”

Afgangsprojektet på Arkitektskolen, et

rehabiliteringscenter for ofre for landminer,

var så vellykket, at det blev afsættet til at

føre virkelige projekter ud i livet i Cambodia.

Dagø har bl.a. tegnet et børnehjem, nu

opført ved grænsen til Thailand. Udstillingen,

som jeg skal se, blev til under Michaels

sjette ophold i landet og er et af de mange

projekter, som CKU har støttet gennem

Projektstøtteordningen i 2010.

MIN BÅD ER MIN BY

På arkitektskolen viser store, smukke fotos

mig menneskene, arkitekturen og landskabet

omkring Tonle Sap, mens omfattende

plancher beretter om samme. Tonle Sap

betyder store ferskvandssø, i folkemunde

bare store sø. Og Tonle Sap er i sandhed en

stor sø, den største i hele Sydøstasien og er

og har altid været af allerstørste betydning

for Cambodia. Alene med hensyn til fiskeri

fanger cambodianerne 75 % af deres fisk

her. Men Tonle Sap er ikke bare en sø, den

er et system af en stor sø og flere floder, der

løber fra søen og ned i Mekong floden ved

hovedstaden Phnom Penh. Fra november til

maj, Cambodias tørre sæson, løber vandet

fra Tonle Sap tilbage ind i Mekong floden.

Den del af året er søen forholdsvis lille, omkring

en meter dyb og 2.700 kvadratkilometer.

I løbet af monsunsæsonen vil Tonle Sap

en og dens floder vende deres strømretninger

så vandet skubbes fra Mekkongfloden

og op i søen, som dermed øger sit areal til

over 16.000 kvadratkilometer og får en dybde

på ni meter. Store områder med marker og

skove oversvømmes. At leve i dette område

er selvsagt en udfordring.

KAMPONG PHLUK

Kampong Phluk er placeret i yderkanten af

en mangroveskov tæt ved bredden af Tonle

Sap. Når monsuntiden vender strømretningen

i Tonle Sap oversvømmes Kampong

Phluk og mangroveskoven, så befolkningen


med ét bor otte kilometer fra kystlinjen. Alle

huse, et tempel og en skole, er af samme

grund bygget på op til ni meter høje pæle.

I den periode foregår al færdsel mellem

indbyggerne i mindre både. Kampong Phluk

huser 8000 mennesker, hvis historiske odds

for at overleve er stærke. Byen har eksisteret

siden det 12. århundrede og har kun været

midlertidig forladt, når der var krig. Befolkningen

er altid vendt tilbage til livet omkring

og på deres omskiftelige sø.

CHONG KNEAS

Chong Kneas er et fl ydende bysamfund etableret

gradvist op gennem det 20. århundrede.

Byen ligger nord for Kampong Phluk og er

udelukkende opbygget af mindre husbåde og

pramme. Man har fælleshuse, skoler og sågar

en lille fodboldbane på pramme der, som

når vandstanden falder, kan fl yttes længere

ud på vandet. Befolkningen er i dag på 4000.

Når vandstanden er høj ligger bådene til i et

fl oddelta tættere på land, når vandstanden

falder samler samfundet sig længere ude på

Tonle Sap. Ligesom Kampong Phluk lever

befolkningen i Chong Kneas af fi skeri.

Om tyve år vil Tonle Sap have betydeligt

mindre vand bl.a. på grund af store dæm-

ningsbyggerier i Kina og Laos, der dræner

Mekkong fl oden, så mængden af det tilbageførte

vand falder. Menneskene ved søen

må derfor gradvis omstille sig til at blive

enten bønder i stedet for fi skere eller leve af

turismen.

Måske er befolkningen i Kampong Phluk

de heldigste i fremtiden. Allerede nu har

fl ere og fl ere omstillet sig til i den tørre

periode at bruge det fastland, de så lever

på, som landbrugsjord. Og som Chong

Kneas har Kampong Phluk længe tjent lidt

håndører på en turisme, der er overvældende.

”Jeg tog mine billeder klokken fem

om morgenen. Ellers var der turister over

alt”, fortæller Michael mig senere. Men hvad

skal befolkningerne sælge, hvis de mister

netop det, som interesserer turisterne - en

særegen historie med et liv på vandet?

DRAGE OG PLÆNEKLIPPER

Det der fænger mig mest ved udstillingen

er Michaels luftfotos af området omkring

ruinbyen Angkor. Disse fotos af Angkor og

dets forgange vandforsyningssystem er taget

oppe i en såkaldt ultralet fl yver: ”Forestil

dig en drage med en plæneklipper sat på,

hvor jeg sidder bag piloten og fotografe-

Denne forgangne

civilisation har troet

sig præcis lige så

udvalgt og særligt

beskyttet, som

menneskeheden gør

det i dag

rer ned”, er svaret da jeg senere spørger

arkitekten, hvordan sådan én mon ser ud.

Trods sin højdeskræk gjorde Dagø gerne

den ballonfærd igen: ”Det var fascinerende

at hænge deroppe i fl yveren og selv se de

mange spor fra vandforsyningssystemet. Jeg

vidste jo godt, at de var der, men jeg var klar

over, at skulle jeg fortælle historien rigtigt,

så skulle jeg derop og have mine billeder.”

At de fl este billeder af ruinbyen Angkor og

sporene fra vandforsyningssystemet er sort/

hvide er ligeledes et helt bevidst valg. ”Det

sort/hvide billede fortæller bedst historien

om sporene i landskabet. Det får noget

tidløst over sig, man kan næsten ikke se

SIDE 91

SIDE FÜNFZEHN

PROJEKTSTØTTEORDNING


forskel, et sort/hvidt foto kan lige så vel være

fra 2010 som fra 1810.”

Angkor er en legandarisk by. Fra 800 tallet

og frem til 1400tallet var den den blændende

hovedstad i et rige, der strakte sig ud

over store dele af det nuværende Sydøstasien.

Under dens storhedstid boede der mere

end 750.000 mennesker i byen, hvilket gør

den til den største præindustrielle bystruktur

i verden. Angkor ligger 10 km nord for Tonle

Sap, og da byen var på sit højeste forstod

man at leve med og af søen. Da Khmerstyret

opførte et omfattende vandforsyningssystem,

fik man kontrol med vandtilførslen eller

manglen på samme og kunne føre befolkningen

trygt gennem skiftende monsunsæsoner.

Lange kanaler

ledte opsamlet vand

fra Kulen bjergene

Det er ikke

nødvendigvis

billeder af død og

ødelæggelse eller

rygerlunger, der

får folk til at ændre

bevidsthed

ned i søen og videre

ud i store reservoirer,

der gjorde at

man selv i dårlige

monsuntider havde

vand nok. Men

afskovning uden

hensyn til nybeplantning,

erosion,

og en tiltagende

misligholdelse af

vandforsyningssystemet,

grundet

indre stridigheder, gjorde Angkor sårbar. Da

store klimaforandringer indtrådte i det 13. og

14. århundrede, også kaldet ’den lille istid’

kollapsede byen, hovedstaden blev forladt og

riget gik under.

Paralleller til i dag springer lige i øjnene,

når man går rundt mellem de store smukke

sort/hvide luftfotos. Højt over ruinerne af byen

og dens mange templer pløjer lange, lige

spor af fortidens kanaler sig nemlig gennem

landskabet. En imponerende og meget

ordnet skyggeverden. Man overvældes af disse

SIDE 92

håndgribelige sort/hvide beviser på en magelig

civilisations kollaps. En civilisation, der gik fra

at lære sig selv at bruge naturen, så den var

en livgivende faktor for hele befolkningen, til

at slippe sit greb og overlade det til naturens

vilde kræfter at bestemme over liv og død.

Denne forgangne civilisation har troet sig

præcis lige så udvalgt og særligt beskyttet,

som menneskeheden gør det i dag. Og det

eneste vi har at bygge følelsen af at være en

undtagelse fra historien på er, at vi holder

nuet og dermed fremtiden i vores hænder.

Når man ser Michaels luftfotos af skygger og

spor forstår man (indtil man bekvemt glemmer

det igen) at nuet ikke er i nærheden af

at være et våben, det er bare tidens fakkel,

der hele tiden må skifte hænder, fra mor til

barn, fra slægt til slægt, fra en civilisation til

den næste.

Jeg betragter spøgelsessporene i landskabet

og tænker på hvor uhyggeligt det

er, at f.eks. COP 15 var så svært et møde at

afholde.

KØBENHAVN PÅ PÆLE

”Jeg har ønsket at lave en udstilling, hvor

folk selv skulle tænke sig frem til den der

løftede pegefinger. Jeg har en æstetisk

tilgang, det er billedet, jeg går op i. Det

er ikke nødvendigvis billeder af død og

ødelæggelse eller rygerlunger, der får folk

til at ændre bevidsthed”, siger Michael, da

vi mødes. ”Tonle Sap er et meget specifikt

sted, der siger noget meget generelt om

verdens fremtid ”, fortsætter han. ”Stedet er

essensen af en global problemstilling. Tre

millioner mennesker er direkte afhængig

af proteintilskuddet fra de fisk der fanges i

Tonle Sap, men to milliarder er afhængige af

ferskvandet fra Himalaya, og hvis Himalaya

afsmelter, hvad fanden gør man så? Ja, så

er der ikke vand nok. Et sted ude i fremtiden,

kommer der krige om vandet.” Det har været

meget væsentligt for Michael, at Where the

Water Flows kom ud på arkitektskolen. ”Det

er bl.a. også fremtidens arkitekter, jeg henvender

mig til. Det er jo i særdeleshed mit

fag, der skal have klimaet i baghovedet.”

Michael arbejder til dagligt som planlægger

for Københavns Universitet med

ansvar for et kommende universitetstorv, et

kollegium forskerboliger og daginstitutioner

ude på det nye sønder campus. Jeg spørger

om, han selv er blevet inspireret af rejsen til

Tonle Sap i sit arbejde: ”Klimatisk er der jo

meget store forskelle”, svarer han, ”men alligevel

er det jo så vedkommende. Vi har lige

haft 2. juli skybruddet, som jo også er et tegn

på, at der sker noget med vejret. På sønder

campus har vi lige nu massive vandskader,

så klimaet er vi nødt til at tage højde for. Mht.

det kommende universitetstorv derude, som

bliver dobbelt så stor som Rådhuspladsen,

har vi sat forskellige eksperter på spørgsmålet

om, hvordan pladsen afvandes, hvis

der kommer nye skybrud, hvad der jo helt

sikkert gør. Det er ikke sådan, at vi sætter

det nye universitet på pæle, men vi er helt

sikkert opmærksomme på klimaet.”

Jeg fortæller hvor skræmt jeg egentlig

blev af at se de sikre spor af en forgangen

civilisation som Angkor. Det glæder udstilleren,

at det på hans egen stille, æstetiske

facon, er lykkedes ham at ryste beskueren.

”Det værste er jo, at grækerne er ved at gå

på røven, som det meste af Vesteuropa, der

bare har kørt derud af i 2-300 år. Jeg siger

ikke, at vi er ved at uddø, men vores storhedstid

er ved at rinde ud, fordi vi har levet

over evne, blevet dekadente som så mange

tidligere store civilisationer. Bare vent. Om

30 år så ser vi selv konsekvensen. Ingen

civilisation, hverken Romerriget , Inkaernes,

eller Angkors har troet, at de bare skulle

ende som spor i landskabet.”

Måske skulle vi alle sammen få lavet en

firkløver? Man kunne godt få brug for lidt

held derude i fremtiden.


SIDE 93

SIDE FÜNFZEHN

PROJEKTSTØTTEORDNING


The people at

the lake must

therefore

gradually adapt

themselves

to be either

farmers instead

of fishermen

or live off the

tourism

THE CURRENT UNDER MY FEET -

WHERE THE WATER FLOWS

We know it, but most of us avoid thinking too much about it, that it is getting warmer,

the seas are rising, that the world is changing and that we may not be able to change

at the same pace, so we and the climate can continue to fit together out there in a perhaps

already lost future.

In the exhibition Where the Water Flows, photographer and architect Michael Tillegreen

Dagø brings the viewer along to three unique cities around the large Cambodian

lake Tonle Sap. One of the places on the planet where the population only survives

because they every single day relate constructively to a changing environment. How do

people situate themselves when they know that the ground beneath their feet will be

covered with nine meters of water half of the year?

By Stine Bork Kristensen

Photos: Michael Tillegreen Dagø

On a windy day in late Summer I ride on

my bike out towards Holmen, across the

Knippelsbro bridge, past Christiania, men

and women with prams and time to spend,

teenagers with slices of pizza in their hands,

and a man whose behind sticks out of a

door of a bodega, so he and two women can

admire his latest tattoo, a four-leaf clover on

one butt cheek. Copenhagen is teeming with

life. The flooded basements and damaged

furniture of the summer are apparently

forgotten by the Copenhagen residents. I’m

going to the School of Architecture, where

Michael Dagø, in the exhibition, Where the

Water Flows, combines his two workspaces,

photography and architecture in the story

of how the three cities, Angkor, Kampong

Phluk and Chong Kneas, in different ways

have understood or not understood - to

adapt to life around the capricious lake Tonle

Sap in Cambodia.

Cambodia has meant a lot to Michael

since he traveled there for the first time in

1995 with a friend on an internship. The stay

was organized by a professor at the Aarhus

School of Architecture, who worked for

Danida in Cambodia and “needed a couple of

guinea pigs”, as Michael describes

it. He immediately

fell in love with the country:

SIDE 94

“There was still an ongoing

civil war down there. It was

a very exciting six months

and yes, I lost my heart.”

The graduation project at

the School of Architecture,

a rehabilitation center for

victims of landmines, was

so successful that it was a

stepping stone to managing

real projects in Cambodia.

Michael has among other

things designed an orphanage

built on the border with

Thailand. The exhibition,

which I am going to see, was created during

Michael Dagø’s sixth stay in the country and

is one of the many projects that DCCD has

supported through the Art Fund in 2010

MY BOAT IS MY CITY

At the School of Architecture large, beautiful

photos show me the people, architecture and

landscape surrounding the Tonle Sap, while

large posters describe the same place. Tonle

Sap means Large Freshwater Lake, among

the local population simply known as the

Great Lake. And the Tonle Sap is truly a great

lake, the largest in all of Southeast Asia and

is and has always been of utmost importance

to Cambodia. Just in terms of fishing

the Cambodians catch 75% of their fish

here. But Tonle Sap is not just a lake, it is a

system consisting of a large lake and several

rivers flowing from the lake and down into

the Mekong River at the capitol city Phnom

Penh. From November to May, Cambodia’s

dry season, the water flows from Tonle Sap

and back into the Mekong River. That part of

the year the lake is relatively small, about

a meter deep and 2,700 square kilometers.

During the monsoon season, the Tonle Sap

lake and its rivers reverse the direction of

the current so that the water is pushed from

the Mekong River and up into the lake, which

thereby increases its size to over 16,000

square kilometers and has a depth of nine

meters. Large areas of fields and forests

are flooded. To live in this area is obviously a

challenge.

KAMPONG PHLUK

Kampong Phluk is located at the outer edge

of a mangrove forest near the banks of Tonle

Sap. When the monsoon season turns the

direction of the current in the Tonle Sap lake

Kampong Phluk and the mangrove forest

are flooded, so that the population all of a

sudden lives eight kilometers from the shoreline.

All the houses, a temple and a school

are for this reason, built on nine meter high

poles. During this period all traffic between

the inhabitants are made in small boats.

Kampong Phluk is the home to 8000 people

whose historic odds of survival are strong.

The town has existed since the 12th century

and has only been temporarily abandoned

when war was raging. The people have

always returned to life around and on their

ever changing lake.

CHONG KNEAS

Chong Kneas is a floating urban society

established gradually up through the 20th

century. The town lays North of Kampong

Phluk and is entirely made up of smaller

houseboats and barges. They have

community centers, schools and even a

small football field on the barges. The

barges can be moved further out onto the

water when the water levels fall. The population

is now at 4000. When water levels

are high the boats anchor up at a river

delta closer to shore, when the water level

falls the small community comes together

farther out on the Tonle Sap. Like Kampong

Phluk the population of Chong Kneas

lives off fishing.

In twenty years Tonle Sap will have significantly

less water because among other

things large dam construction projects in

China and Laos, which drain the Mekong

river and cause the amount of the returning

water to drop. The people at the lake must

therefore gradually adapt themselves to be

either farmers instead of fishermen or live

off the tourism.

Perhaps the people of Kampong Phluk

will be the luckiest people in the future.

Already, more and more of them have begun

in the dry period to use the mainland they

live on, for farming. And, like Chong Kneas,

Kampong Phluk has long earned a few

pennies off of tourists whose interest in the

area is overwhelming. “I took my pictures at

five o’clock in the morning. Otherwise, there

would be tourists everywhere.” Michael tells

me later. But what will the local population

sell if they lose the very thing that interests

tourists - a unique story of their life on the

water?


KITE AND LAWNMOWERS

What captivates me most about the exhibition

is Michael Dagø’s aerial photographs of

the area around the ruined city of Angkor.

These photos of Angkor and its bygone water

supply system were taken from a so-called

ultra-light plane. “Imagine a kite with a

lawnmower attached to it where I sit behind

the pilot and photograph the landscape

below.” This is the answer I get when I later

ask the architect what such a plane looks

like. Despite his fear of heights Michael

would gladly go up again. “It was fascinating

to glide around up there in the plane and

see for oneself the many traces of the water

supply system. I knew they were there, but I

knew that if I was to tell the story correctly,

I had to get up there and take my pictures.”

That most of the pictures of the ruined city

of Angkor and the traces of the water supply

system are black and white is also a deliberate

choice. “The black and white photograph

tells the best story of the traces in the

landscape. It creates a timeless aspect to the

pictures, you can hardly tell the difference. A

black and white photograph might as well be

from 2010 as from 1810.“

Angkor is a legendary city. From the

9th century to the 15th century it was the

dazzling capital of a kingdom that stretched

over large parts of current Southeast Asia.

During its heyday more than 750,000 people

lived in the city, which makes it the largest

pre-industrial urban structure in the world.

Angkor is located 10 km North of Tonle

Sap, and when the city was at its peak the

population understood how to live with and

by the lake. When the Khmer regime built a

comprehensive water supply system, control

of the water supply or the lack of same was

dealt with, and population could be lead

safely through the shifting monsoon seasons.

Long channels led the collected water

from the Kulen Mountains down into the

lake and into large reservoirs that ensured

enough water even during poor monsoon

seasons. But deforestation without regard to

replanting, erosion, and an increasing failure

to maintain the water supply system, due to

internal strife, made Angkor vulnerable. As

major climate changes occurred in the 13th

and 14th century, also known as ‘the Little

Ice Age’, the city collapsed, and the capital

was abandoned and the kingdom fell apart.

Parallels to today jump right out at you

when you walk between the large, beautiful

black and white aerial photographs. High

above the ruins of the city and its many

temples long, straight traces of the ancient

canals plow through the countryside - an

impressive and very orderly shadow world.

One is overwhelmed by these tangible black

and white proofs of a leisurely civilization’s

collapse. It was a civilization that went from

teaching itself to use nature, so that it was a

life-giving factor for the whole population, to

loosening the grip and

leave it to nature’s wild

forces to decide over life

and death.

This past civilization

believed itself just as

chosen and specially

protected, as humanity

does today. And the only

thing we have to build

the feeling of being an

exception to history on is

that we hold the present

and thereby the future

in our hands. When

you see Michael Dagø’s

aerial photographs of

shadows and traces one

This past

civilization

believed

itself just

as chosen

and

specially

protected,

as

humanity

does today

understands (until one conveniently forgets

it again) that the present is no way near being

a weapon. It is simply the torch of time

that continuously must change hands, from

mother to child, from generation to generation,

from one civilization to the next.

I look at the ghost tracks in the landscape

and consider how frightening it is that for example

the COP 15 in Copenhagen was such a

diffi cult meeting to hold.

COPENHAGEN ON POLES

“I wanted to do an exhibition where people

had to make it to the warning sign on their

own. I have an aesthetic approach. It is the

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PROJEKTSTØTTEORDNING


image that concerns me. It is not necessarily

images of death and destruction, or

emphysema, which causes people to change

their view on issues,” says Michael when

we meet. “Tonle Sap is a very specific place

that says something very general about the

world’s future”, he continues. “The place

is the essence of a global problem. Three

million people are directly dependent on the

protein from fish caught in the Tonle Sap, but

two billion people are dependent of the fresh

water from the Himalayas, and if the snows

of the Himalayas melt, what the hell do

you do then? Well, then there’s not enough

water. At some point

in the future, there

will be wars over

water. “It has been

very important for

Michael that Where

the Water Flows was

presented at the

School of Architecture:

“I am among

others addressing

the architects of the

future. It is especially

my profession who

needs to consider

the climate.”

Michael Dagø’s

day job is as a

project manager for

Copenhagen University, with responsibility

for an upcoming university square, housing

for researchers and day care centers at the

new Southern Campus of the University. I

ask if he himself has been inspired by the

trip to Tonle Sap in his work: “Climate-wise

there are huge differences,” he replies, “but

it is still very prescient. We just had the July

2nd cloudburst, which is also a sign that

something is happening with the weather.

On the Southern Campus we have had

It is not

necessarily

images of death

and destruction,

or emphysema,

which causes

people to change

their view on

issues

SIDE 96

massive water damage, so the climate is

something we need to consider. Regarding

the upcoming university square out there,

which will be twice the size of the City Hall

Square, we have asked different experts to

look at how the square can be drained, if new

cloudbursts should occur, which certainly

will happen. It is not like we will put the new

university on poles, but we are certainly

aware of the climate. “

I describe how frightened I actually was

by seeing the tangible traces of a bygone

civilization such as Angkor. This pleases

the exhibitor, that through his own quiet,

aesthetic style, he has managed to affect

the viewer: “The worst thing is that the

Greeks are about to go on their financial ass,

like most of Western Europe they have just

pushed ahead for the last 200 - 300 years. I

am not saying that we are dying out, but our

time of glory is running out, because we have

lived beyond our means we have become

decadent like so many past great civilizations.

Just wait, in about 30 years we will see

the consequence ourselves. No civilization

- Neither the Roman Empire, the Incas, nor

Angkor believed that they would just end up

as traces in the landscape.”

Perhaps we should all get a four-leaf

clover tattoo made? One might need a little

bit of luck in the future.

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