THE INFINITE MOMENT - When heart and world collide, documentary about the painter Rolf Kuhlmann, 120 min.
Credits: Writer & Director: Claudia Schmid / schmidfilm; Camera: Justyna Feicht; Sound: Andy Michaelis
The film portrays the artist Rolf Kuhlmann and accompanies the entire process of creating two double-opening painting objects over a period of two years. These two double triptychs, each with four picture areas, which relate to each other in terms of form and content, are likely to be Kuhlmann's largest work to date.
In the painting cycle, the painter reflects on the current state of the world and envisions a possible, apocalyptic scenario. In doing so, he draws a link from ancient Greece to the present day. It reflects a world that is falling apart, losing its measure and the basic ethical rules in which man gradually exploits and destroys nature and man. Which is increasingly subject to seduction through populist ideas and repression. That leads to the attainment of resources, wars and deprives people of their livelihood so that they have to leave their country. Kuhlmann's paintings are interfaces between the real world of current events in relation to history and a world beyond, of dreams, fantasies, allegories and poetry.
Kuhlmann is a poetic revolutionary - a realistic painter who uncompromisingly follows his visions and their painterly implementation in an idiosyncratic way that is unique in today's art world. He creates narrative structures that, in contrast to the classic narrative form, have no beginning and no end. His stories do not work linearly, but associatively, move freely in different times, spaces and narrative levels that relate to each other - similar to a dream. In this complex, condensed form of different narrative strands, perspectives and possibilities of interpretation, the images release a creative process for the viewer and thus enable him to have a very own view of the visual elements and topics of the world. The viewer is therefore encouraged to become part of the creative process.
The film also moves in terms of content and form on several levels, which interweave and condense into one another like a fugue and over which in turn non-linear meta-levels of its abstract themes hover.
Since I originally come from art myself, I approach Kuhlmann and his visual world not only as a filmmaker, but also as an artist - observing with sensitivity, but also questioning confrontationally. Since we meet at eye level and Rolf Kuhlmann trusts me, he transparently permits the unrestricted documentation of every moment. Thus, the viewer has the opportunity not only to immerse himself in Rolf Kuhlmann's creative process and intellectual world, but in the depth of his creative struggle for the vision and the “good work of art” and thus gain an insight into the essence of art.