Philipp Schumacher’s “One Shot Movies” tell an entire store in a single photograph. The Duisburg artist, born 1983, is not only cameraman but also author and director. “In my artistic works I do not understand myself as a chronicler but rather as an essayist with camera,” Schumacher explains.
A table for one. Under a brick bridge illuminated by a supernatural light shining through the dark night air, a lonely man in a suit sits at a festively set table while a violin player serenades him. The irony: a delivery boy steps out of a car to deliver the pizza that will be the evening meal.
What has taken place, and moreover, what is still to happen? These are the questions we feel compelled to ask when viewing Schumacher’s Lichtbilder (Light Photos).
A single image requires a month of work. First comes the idea for a scene, which he sketches before the organizational part begins. Schumacher hires actors, designs a lighting scheme, organizes the power supply, compiles a list of props, and calls together a band of helpers.
Schumacher foregoes any kind of digital editing after the fact. His “One Shot Movies” are analog photographs; the worlds into which he lures viewers actually existed, even if only for a moment.
He photographs exclusively in the Ruhr region of Germany. “I want to tell modern myths from the mining and steel industries,” he says, and so he implements the unique industrial architecture of his native region in his stories.
And he always draws inspiration from art history as well. Lichtbild Nr. 7, for example, is a reinterpretation of Leonardo da Vinci’s Last Supper. In place of the disciples sit coalminers; the location is an abandoned mine through the windows of which floods the blinding light that plays such a crucial role in all of Schumacher’s works.
Ну не иначе в нем дух какого-то Феллини заблудился