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Author: admin, 16.02.2015

CANDIDA HOFER in conversation with HERBERT BURKERT (*)(*) Extracts from the Catalogue ‘PROJECTS: DONE’On Projects. Museum Morsbroich Leverkusen II (2008) was part of an extensive exhibition of works by Candida Hofer, displayed in the same Baroque palace where the photograph was taken. Certainly some of them form a contrast with Candida Hofer’s usual subject matter at a first glance, the works relating to Flipper [Pinball Machine], for example — dating from Hofer’s early working years — , intended as an publication project, or the Liverpool complex, with its numerous street images.
But these works too are not unrelated to Candida Hofer’s central theme of creating images of space, of its different content, its use, what a space shows and how it shows it. This project is based on co-operation between the artist and the architects that started in 2002, when Kuehn Malvezzi converted the spaces in the Binding Brewery for Documenta 11, at which Candida Hofer showed the Burger von Calais (Burghers of Calais).

In collaboration with the architects Kuehn Malvezzi, display systems were developed for the exhibition that not only strip the many venues of the On Kawara project of their privacy, but also ultimately bring the archived prints into the exhibition space in the form of the recent publication Candida Hofer. Hofer must have visited some of the sites several times, for one image shows a sixmember Turkish family in their living room, whereas another image in the same place shows only the husband and wife, wearing different clothes. At the same time, it marks a temporary caesura in the collaboration between Candida Hofer and Kuehn Malvezzi that began with Documenta 11 in Kassel.
For me, Candida Hofer’s photographs are also kinesthetic models.Chris DerconShe needs kinesthetic models, because one curatorial and also conservational aspect of the photographs of Andreas Gursky, Thomas Struth, Thomas Ruff, and Candida Hofer is, of course, that these photographs are framed almost like Don Judd’s furniture, with large reflective surfaces.
Candida Hofer’s photographs at Schloss Morsbroich are now hanging there as a reflection in the castle: there are photographs of the historic mirrored hall, now hung directly opposite that room, at the other end of a row of baroque rooms.

It seemed important to Candida Hofer, the curators, and us to show both slide projections, 80 Pictures and Turken in Deutschland, in their original form in the exhibition, and not to use a digital projector, which produces a much stronger light.

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