Lot 47 D

"Candida Höfer deals with the significance of private and public spaces. Her works mostly show empty, seemingly timeless interiors that are marked by the absence of recognizable dramaturgic interventions. Photographed without additional lighting, the room types shown in the photographs - museums, theaters, libraries, opera houses, waiting areas, foyers, and churches - seem mostly cool and functional. Höfer's distanced, objectifying perspective is influenced by the ‚Neues Sehen‘ (New Vision) movement of the 1920s and contrasts with the journalistic, documentary view.
In the twenty-two large-scale photographs of the Elbphilharmonie produced [...] in 2016, Höfer makes more than just the architecture visible; in these rigorous photographs, which include both generous views of the building and close-ups, the artist examines the building: the escalator in the entrance area, the spiral driveway in the parking garage, the concert hall, the striking wave of the roof with its covering of glass plates. Both the materiality and the structure of the architecture are subjected to a sublimation.“ (cf. Angela Rosenberg, in: Dirk Luckow (ed.), op.cit., p. 12)