PRINT March 2015


Andrea Büttner, Piano Destructions, 2014. Rehearsal view, Walter Phillips Gallery, Banff Centre, Canada,
April 11, 2014. Photo: Rita Taylor. © Andrea Büttner/VG Bild-Kunst, Bonn.

“I WANT TO LET THE WORK FALL DOWN.” These words sing out from (and provide the title for) a black-and-white woodcut that Andrea Büttner printed in 2005—and as it was written, so it would be done. Biblical overtones, we’ll see, are pertinent to the Frankfurt- and London-based artist’s oeuvre, which over the past decade has splintered into various media, including screen prints, wallpaper, photography, books, furniture, textiles, paintings on glass, instruction-based works, ephemeral installations involving live moss and wet clay, and videos she variously shot herself, collated from archives, or had nuns film for her. Her scope of inquiry ranges through Catholicism, philosophy, music, art history, shame, and botany, among other topics. Yet what remains constant is the fall: Büttner lets things go, allows them to drop, pushing the limits of form and refusing fixity, singularity,

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