Hugo Schmolz Karl Hugo Schmolz Cinemas by ACC Art Books

HUGO KARL HUGO SCHMÖLZ SCHMÖLZ

THEATRES OF EXPECTATION Hanns Zischler

Magnificent, radiant spaces, full of expectation, they seem to

time anew, to transform them – with the help of glittering lights, heavy

be freshly “raised from the baptismal font” every time you step inside.

curtains and a common position facing the screen, which finally re-

An architecture dedicated to ritual, they are inviting, created to set the

veals itself like a huge window – into spectators. To become a specta-

scene for, receive and fulfill the very highest expectations of the cul-

tor in this connection is always to undergo a little initiation rite as you

ture industry. These socially equalizing passive pleasure spaces of-

cross the threshold into another realm: it is a state of mind and a space

fer an unfettered showcase for trash and entertainment, experiment and

that, as all sacred spaces — church, opera, theatre — aims at turning

art. “Affordable luxury for the public arena!” the old clarion call, still well

passersby into visitors, the visitors into spectators and participants in

worth heeding, found its architectural expression in the movie theatre,

a ritual. Light uses darkness as a lure. Once inside, there’s no escape

just when the new medium, expanding exponentially and racing towards

– wherever to?! The whole fantastic, luminous extravagance of a lar-

technical perfection, was seeking suitably glamorous housing. Within just

ger-than-life projection, all to let imagination take a flight of noctambu-

a few years, the mobile venues of itinerant cinema operators had given

listic fancy!

way to these viewing temples with their sophisticated lighting. Though multi-tiered ticket prices did reassert the social hierarchy, the all-embrac-

ing effect of the still very inexpensive “drug of luminosity” prevailed.

here to draw spectators into an actual depth-of-space. The magnetism of

But unlike in a theatre or opera setting, there is no stage area

the “silver screen” is unique, a pull which, to stick with natural phe

Stepping into such a theatre with the house lights still on, one’s

nomena, can only be compared with the tides. The low tide that always

gait slows down of its own accord, until, after a little while, the colors and

entices us to keep heading carelessly for the horizon until it’s too late to

reliefs on the walls and ceiling recede in the dimming light. When the

turn back and the high tide rolls in, sweeping over us: flood waves of

curtain rises and all goes pitch black for a few moments, the green-white

emotion. So the lighting scheme of the theatre, deploying all the artful

snake eyes of the emergency exit signs making the darkness all the more

tricks of the interior design trade, was nothing but a contrivance after

delicious, dust pirouettes whirling in the projection beam drive expecta-

all, an elaborate sensory deception aimed at overwhelming us, at the de-

tion to its apex. Light hypnosis.

cisive moment, with the luminous moving picture show! This architecture paved the way for the transition from the movies to film, using

everything in its power to elevate our senses from a literally glorious

Queried as to their aesthetic function, these theatres sculpted of

spatial experience to the daydream of film.

lighting refer to an – occasionally quite rude – mechanism: to overwhelm. As if aiming to seduce all who enter their high-ceilinged confines each 6

The photographs of Hugo Schmölz and his son Karl Hugo show

this special staging of light permits a unique experience of spatial per-

us the big cinema spaces as they have never before been seen by the hu-

ception. Here, the architecture of the movie theatre is de-dramatized

man eye. It is sensory deception of the highest order, accomplished by

to a certain extent, thereby highlighting its exceptional beauty and ele-

Schmölz Père & Fils with the aid of self-devised technique.

gant detail in their purest form. Thus photographed the cinema space

becomes a cinematic medium. It is a theatre of expectation. If the conAfter the perspective for the large-format plate

tradictory German word ausleuchten – to illu-

camera is chosen, begins the singular process

minate or light up, literally “light out” – ever

of partial exposure of the panchromatic photo

made sense at all, then in the works of these

plate: a man dressed in black moves through

architectural photographers.

the cinema space with a hand-held lamp on a long extension, lighting the whole theatre

step-by-step. Another black-cloaked figure fol-

and has all the spectators in its thrall, the thea-

lows, carrying the power cord along the rows

tre disappears in darkness, as if the architec-

of seats, up and down the aisles. This process,

tural play of light and shadow had been just

absolved at walking speed, could be called the

an illusory, short-lived opening act. When the

ephemeral light bath or baptism by lighting.

film is over and we leave the theatre in a slight-

When this work is done — neither of the two

ly dazed or entranced state, there is no back-

actors will leave a trace on the negative — the

ward glance — the room remains dim, hard-

house lights are turned on for about one second.

ly even there. Only back outside, where the

For this photographic technique Schmölz &

night makes it own demands, do we gradu-

Schmölz coined the equally poetic and precise

ally reawaken, still suffused with the dream

term “Wanderlicht” (wander lighting)

and the space, now out of reach, that we have

As soon as the film itself fills the space

just left behind.

In this photography, architecture ap-

pears as sculpture; an interior space sculpted by light. A varied array of forms vividly come to the fore in finest grayscale gradations: the contoured shapes of the seats; the wall lamps, shining discreetly; the ceiling lamps, casting their indirect glow; the upholstery-like relief of the wall casing; the folds of the long, heavy curtains. No single element of the interior is overemphasized. A product of the “Wanderlicht” technique, 7

Capitol, Saal von der BĂźhne, Bielefeld, 1936 Architekt Ernst Huhn (1894 -1964)

Apollo-Theater, DĂźsseldorf, 1939 Architekt Carl Staudt (1890 -1968)

Apollo-Theater, von der Bühne aus (Stühle), Düsseldorf, 1939 Architekt Carl Staudt (1890 -1968)

Scala, Theater gegen Bühne, näher, 1942 Architekt Liesenfeld & Stumpf

Kino, Blick gegen Balkon, Bergisch Gladbach, 1949 Architekt unbekannt

Lito Palast Sterkrade, gesamt gegen BĂźhne, Oberhausen, 1949 Architekt Hanns Dustmann (1902 -1979)

Stadttheater Oberhausen, seitlich, Oberhausen, 1949 Architekt Friedrich Hetzelt (1903 -1986)

Kino, Blick von Logen zur BĂźhne, Detail, Duisburg, 1955 Architekt Ernst Huhn (1894 -1964)

Regina-Lichtspiele, Blick von BĂźhne, axial, Gelsenkirchen, 1957 Architekt Wilhelm Johann Koep (1905 -1999)

Editor: Van der Grinten Galerie Gertrudenstr. 29, 50667 Köln, Germany vandergrintengalerie.com First edition of 1000 copies published by Verlag Kettler, including a limited collector’s edition (35 +3 AP) with a modern print from an original glass plate negative (Karl Hugo Schmölz, Europa Palast, Düsseldorf, aussen bei Nacht, Düsseldorf, 1949), numbered and stamped by the gallery and Archiv Wim Cox. Concept & management: Nadia van der Grinten Scans of the original glass plate negatives and image editing: Maurice Cox Graphic design: Michael Wittassek Translation: Ellen Wagner

Cover Gangolf-Lichtspiele, Kino, innen, Blick von Bühne in Zuschauerraum, Bonn, 1951

p. 3

in any form or by any means without permission in writing from the editors,

Europa-Palast, aussen bei Nacht, Düsseldorf, 1949

except by a reviewer who may quote brief passages in a review.

p. 5 Kino Rex am Ring: Blick auf die Buehne von unten links, Köln, 1951 p. 7

Printed by: Druckerei und Verlag Kettler GmbH, Bönen Paper: Condat Matt Perigord 170g/m , Cover: Peyer Lissé 135 g/m 2

Kino Rex am Ring, Kino-Bestuhlung, Köln, 1951 p. 98

Published by: Verlag Kettler, Dortmund

Europa-Palast, seitlich gegen Balkon, Düsseldorf, 1949

verlag-kettler.de

p. 91 Lito Palast Sterkrade, Balkonuntersicht, Oberhausen, 1949 p. 95

ISBN 978-3-86206-727-5

Sarotti-Stand im Ufa-Palast, 1956