Critics’ Picks

View of “Andrea Büttner,” 2015–16.

Minneapolis

Andrea Büttner

Walker Art Center
725 Vineland Place
November 21 - April 10

For her debut solo exhibition in the US, Andrea Büttner presents works—be it video, philosophy book illustrations, growing moss, prints, or a fabric-based installation—that highlight her willingness to follow an idea to whatever medium it needs to take. Large walls mostly covered in vibrant blue cotton fabric—typically used for British service workers’ uniforms—radiate in the gallery, providing a richness that contrasts with the cold white of the rest of the space. Indeed, Büttner’s work can feel as if it is all about contrasts and opposing ends: The lofty philosophical concerns taken up in eleven large panels of images that illustrate Kant’s 1790 Critique of the Power of Judgment are counterbalanced here by two large woodcuts of a huddled panhandler in Beggar, 2015, with his hands reaching down, demonstrating the lowly vow of Franciscan servitude.

Büttner’s art, in fact, occurs between two extremes—through tension, certainly, but also through meandering in the poetic space of contemplation that is left open between the edges of high and low. In the video installation Piano Destructions, 2014, watching and listening to nine women play grand pianos, projected on one wall, while mostly male avant-garde performers violently bash the instruments with axes and sledgehammers on four screens on an adjacent wall feels brutally gendered and unjust. Though the piece was commissioned by the Walter Phillips Gallery and Banff Centre in Canada, this exhibition adds another layer of profound dissonance, as every male artist—from George Maciunas to Nam June Paik—in the destruction performances has work in the Walker’s permanent collection. The stellar departure in this show is Büttner’s series “Phone Etchings,” 2015, wherein the intimate brush of a fingertip on her phone in search of something is recorded, enlarged, and etched to become expansive gestural strokes in search of expression.