Details
PROPERTY FROM A PRIVATE COLLECTION
CANDIDA HÖFER (B. 1944)
Ministério da Economia e da Inovação, Palácio da Horta Seca Lisboa I, 2005 (Ministry of Economy and Innovation, Horta Seca Palace Lisbon I, 2005)
signed 'Candida Höfer' (on a label affixed to the reverse)
C-print
image: 89 x 70½in. (226.3 x 179cm.)
overall: 99⅛ x 80¾in. (251.9 x 205cm.)
Executed in 2005, this work is number two from an edition of six

Provenance:
Acquired directly from the artist by the present owner.

Exhibited:
Lisbon, Palácio da Horta Seca, Formas de ver o mundo, 2006.
Lisbon, Centro Cultural de Belém, Candida Höfer in Portugal, 2007, p. 125 (another from the edition exhibited, illustrated in colour, p. 35).

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Please note that this lot is the property of a private collector.

Please note this lot is the property of a private individual.

Lot Essay

‘Candida Höfer: Haunted Spaces’, [accessed 09/06/2016]).
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A former student of the influential photography duo Bernd and Hilla Becher, Candida Höfer is a representative member of the celebrated Düsseldorf School, which also includes Andreas Gursky, Thomas Struth, Axel Hütte and Thomas Ruff. Höfer’s work has been shown at the Kunsthalle Basel, the Louvre in Paris and the State Hermitage Museum in St Petersburg; she has represented Germany at the 2003 Venice Biennale and participated in Documenta 11 in 2002, and her photographs are part of major museum and private collections across the globe. Ministerio Da Economia e da Inovacao, Palacio da Horta Seca Lisboa I and II, (both 2005) present empty interiors of a municipal building in Lisbon, conveying the thorough and skilful documentation of space which has brought Höfer international recognition. The present works show many key characteristics of her practice in the deft formal use of line, shape, light and colour. Höfer creates these large-format photographs without digital alteration, using long exposure and working exclusively with natural light. The result is an exceptional combination of intimacy and scale, in which elaborate architectural details are captured without losing the sense of space and order. The images are devoid of human presence: it is precisely the purity of the meticulously composed scene that becomes the human element. As she once stated, ‘an absent guest is often the subject of a conversation’ (C. Höfer, quoted in F. Macdonald, ‘Candida Höfer: Haunted Spaces’, [accessed 09/06/2016]).
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