Candida Höfer is a photographer recognized for her large-format images of architectural interiors. Her works explore the psychological environment of social and cultural institutions by acknowledging how public spaces are designed to accommodate and inform the public. Strongly influenced by the formal qualities of austere documentary photography, her artistic practice expanded to encompass a myriad of places rooted in cultural formation and preservation, including museums, libraries, universities, and theaters.
Die Publikation dokumentiert die Ausstellung Nach Berlin von Candida Höfer im Neuen Berliner Kunstverein und nutzt dabei das Medium Buch als Präsentationsort und Display. Zu sehen sind neue Fotoarbeiten und Projektionen, die eine Neuentwicklung hin zur Abstraktion im Œuvre der Künstlerin markieren.
Photographs Become Images; Images Turn into Exhibitions
On November 28, 2010 Professor Irene Ludwig died unexpectedly. In her will she bestowed a number of spectacular pieces and permanent loans from her estate to Museum Ludwig and Museum Schnütgen.To mark the first anniversary of her death, Museum Ludwig has
Foreword by Àlvaro Siza and introduction by David Chipperfield set the stage for this comprehensive documentation of a pivotal project: the Neues Museum on Berlin's Museumsinsel. Edited by Chipperfield, the book showcases his innovative approach to merging old and new, likening his method to that of a painter meticulously considering each stroke. Candida Höfer's photographs capture the museum's completed rooms in soft natural light, highlighting the architectural interventions before furnishings were added. These images, presented as matt color plates, emphasize the grandeur of the empty spaces. Accompanying the visuals are essays from prominent figures in architecture and art history, who explore the project's conservation and enhancement principles. Kenneth Frampton examines the historical significance of restoring such a structure, while Joseph Rykwert reflects on the building's complex, layered history. An interview with Chipperfield by Wolfgang Wolters delves into the challenges of the restoration process, and Thomas Weski offers insights into Höfer’s photography. Additionally, a chronology outlines the building's history, the reconstruction proposals, and the restoration journey. This collection of perspectives enriches the understanding of the museum's significance and the architectural dialogue it inspires.
Candida Höfer setzt ihr großes, weltumspannendes Projekt der Photographie öffentlich genutzter Innenräume in Neapel fort. Im Auftrag und mit der organisatorischen Hilfe des Museo Capodimonte photographierte sie dort gerade Theater, Konzertsäle, Bibliotheken, Museen, Institute. Angesichts des ungeheuren historischen und kulturellen Erbes der Stadt verwundert es nicht, dass der photographische Ertrag von Candida Höfers Kampagne in den Stadthäusern und Palästen Neapels von außerordentlicher ästhetischer Verführungskraft ist. Unser Buch begleitet die Ausstellung der neuen Bilder aus Neapel, die im berühmten Museo Capodimonte von Oktober bis Dezember diesen Jahres gezeigt werden.
Johannes und Wilfried Kuehn sowie Simona Malvezzi – die bei Künstlern und Galeristen bekannter sind als unter Architekten – waren verantwortlich für den Umbau der Binding-Brauerei für die Documenta 11, die Erweiterung des Hamburger Bahnhofs für die Flick Collection und den Umbau einer Fabrikanlage in Düsseldorf für die Sammlung Stoschek. Für die Stiftung Candida Höfer bauten sie ein Haus in Köln für Ausstellungszwecke. Candida Höfers Arbeit begleitet seit Jahren fotografisch das Werk des Büros. Ihre Fotografien werden hier erstmals publiziert.
Nobody photographs the splendid and intimate cathedrals of knowledge as beautifully as Candida Höfer: Escorial, Whitney Museum, Pierpont Morgan, Villa Medici, Hamburg University. With a lucid essay on libraries by Umberto Eco.
In 1347, during the seige of Calais, King Edward III agreed to spare the population of the town on the condition that six of the most important citizens leave Calais bareheaded and barefoot, with a rope around their necks, carrying the keys to the town and the castle. In 1884, the City of Calais commissioned August Rodin to create what is arguably his most famous bronze statue, The Burghers of Calais , a radically new type of monument devoid of all heroic transfiguration. In 1997, the twelfth and last cast of The Burghers was unveiled in Seoul, and the City of Calais thus decided to commission a new work on the subject by Candida Hofer. In her trademark austere, unpretentious and sensitively detailed photographs, the artist captured the twelve casts of the sculpture at their locations across the in museums and squares in Paris, Tokyo, Brussels, London, Copenhagen, Washington, Philadelphia, Basel, Mariemont/Belgium, Pasadena, Seoul and Calais.
Published to accompany the exhibition held at Kunstverein Wolfsburg, 13 September - 15 November 1998, Kunstverein Recklinghausen, 28 November 1998 - 31 January 1999, and Oldenburger Kunstverein, 25 April - 13 June 1999