Andrea Büttner


Untitled, 2019, ink on cartridge paper, 96.3 x 129.8 x 4 cm [framed]

Untitled, 2019, ink on cartridge paper, 96.3 x 129.8 x 4 cm [framed]

Untitled, 2019, ink on cartridge paper, 96.3 x 129.8 x 4 cm [framed]

Untitled, 2019, ink on cartridge paper, 96.3 x 129.8 x 4 cm [framed]


A group of four works on paper feature frame-like forms that are themselves circumscribed by a metal border. These forms recall Derrida’s notion of the ‘supplement’, defined as an entity that is seemingly a secondary addition from the outside, but which in fact provides what is missing within the thing which it ‘supplements’. 

These ink outlines bring to mind the glazing bars of stained glass windows—which John Piper referred to as ‘splendid discipline’—that provide a necessary structural function yet also serve as lines to delineate form. The works also echo the complex roles attributed to frames in Western art history. For instance, in the medieval period the frame of an altarpiece did not always appear as an enclosure, rather the frame imparted the architectural setting of the painted picture and enabled the depth of simulated space to become established. Moreover, as art historian Wolfgang Kemp noted in The Rhetoric of the Frame: Essays on the Boundaries of the Artwork (1996), frames in this period were often more costly and elaborate than the art they contained and thus key in conveying the value of the altarpiece. Questioning how content is distinguished from the frame, these works extend Büttner’s ongoing examination of structures and codes within social and cultural systems.

Dachau, Coventry, Gross St. Martin, Plötzensee, 2017-2019, postcards mounted on glass [five panels]

A selection of glass-mounted postcards consider the formal expression of religious spaces. Among the structures depicted in the postcards are stained glass windows designed by John Piper in Coventry Cathedral and the altar fresco mural by Georg Meistermann in the Maria Regina Martyrum in Berlin. These particular features are selected as elements of religious space which articulate the convergence of formal abstraction and symbolism. The postcards also gesture to the relation of devotional spaces to other social functions, including mourning, atoning, and healing. The Maria Regina Martyrum, a Roman Catholic church located near the former Plötzensee Prison, was occupied as an execution site under the Nazi regime. The church was constructed in the 1960s to honour those who died resisting the regime, functioning as a religious space as well as a tribute and memorial. The postcards are a result of Büttner’s recent research involving the Karmel Heilig Blut Dachau to inform forthcoming video projects.

Potatoes, 2019, gouache on cardboard, 69.2 x 50 cm

Potatoes, 2019, gouache on cardboard 69.2 x 50 cm

Painted Ceiling (potatoes), 2019, gouache, dimensions variable, installation view of The Heart of Relations, Hollybush Gardens, London, 2019

Painted Ceiling (potatoes), 2019, gouache, dimensions variable, installation view of The Heart of Relations, Hollybush Gardens, London, 2019

Painted Ceiling (potatoes), 2019, gouache, dimensions variable [detail]


Büttner has repeatedly employed the motif of the potato, taking an interest in its inelegant, plump formal quality. In Van Gogh’s The Potato Eaters (1885), one of the most well-known art historical appearances of the potato, the peasants are rendered in ‘the colour of a really dusty potato’, according to the painter, thus forming a metonymic correlation between the potato and the threadbare manual labourers at the dinner table. Büttner’s work relates these formal and historical associations to a religious context, transferring what is conventionally tied to the earthly and the grounded to an elevated position recalling celestial religious frescoes.

Untitled (baby on rock), 2018, woodcut on paper, 115 x 198 cm

Corners, 2017, woodcut on paper, 116.9 x 171 cm

Untitled (breast feeding), 2018, woodcut on paper, 124 x 178 cm

Coins, 2017, woodcut on paper, 124 x 173 cm

Diver, 2017, woodcut on Japanese paper, 218 x 117.5 cm

Hill, 2017, woodcut on paper, 168 x 140 cm

Beggars, 2016, woodcut on paper, various dimensions, installation view, Beggars and I-phones, Kunsthalle Wien, Vienna, Austria, 2016

Beggar, 2016, woodcut on paper, 164 x 140 cm

Beggar, 2016, woodcut on paper, 134 x 100.2 cm

Beggar, 2016, woodcut on paper, 154.8 x 125 cm

Beggar, 2016, woodcut on paper, 136.1 x 99.3 cm

Beggar, 2016, woodcut on paper, 135.4 x 99.4 cm

Beggar, 2016, woodcut on paper, 126.6 x 89.7 cm


Fabric Painting (corner), 2015, stretched fabric, 130 x 85 cm [each]

Fabric Painting (corner), 2013, stretched fabric, 160 x 100 cm [each]

Bread Painting, 2015, reverse glass painting with photographic print, 48 x 36 cm

Bread Painting, 2015, reverse glass painting with photographic print,
39.1 x 33.2 cm

Bread Painting, 2015, reverse glass painting with photographic print,
48 x 36.1 cm

Images in Kant’s Critique of the Power of Judgement, 2014, offset print, 178 x 118 cm [each], installation view, Museum Ludwig Cologne, 2020. Photo: Rheinisches Bildarchiv, Cologne / Marleen Scholten

Ramp, 2010, screen print on paper, 120 x 160 cm

Ramp, 2014, screen print on paper, 120 x 160 cm

Ramp, 2014, screen print on paper, 120 x 160 cm

Ramp, 2014, screen print on paper, 120 x 160 cm



Deutsche Bundesbank Dining Room, 2019, cardboard, bookbinding linen, 21 x 75.70 x 53 cm

Rockefeller Dining Room, 2019, cardboard, gouache, 29 x 62 x 110 cm

Corner Münter Haus Murnau, 2019, cardboard, oil paint, wood, gouache, paper, 28.6 x 28.6 x 35 cm

These maquette-like works explore the resonances between art and interior design, specifically among secular architectural spaces, fresco painting in chapels and other religious architectures. One sculpture recreates the dining room of Nelson A. Rockefeller’s New York City apartment, which featured as a commissioned site-specific painting by the Swiss-American artist Fritz Glarner. Completed in 1963, Glarner’s ‘Rockerfeller Dining Room’ was sold as a work of art in 1987 and is today held in the collection of Museum Haus Konstruktiv. Rather than recreate the appearance of Glarner’s work, Büttner’s model replaces the interior surfaces with monochrome gouache panels, rendering the structural constituents of the space into abstract formal elements.

Stones with Moss, 2018, dimensions variable

Moss, 2014, gypsum, 50 x 120 x 69.9 cm, installation view, Andrea Büttner, Walker Art Center, Minneapolis, USA, 2016


Moss Garden, 2014, powder-coated steel, tuff stones, ceramics, 180 x 120 cm

Moss Garden, 2014, powder-coated steel, tuff stones, ceramics, 180 x 120 cm

Moss Garden, 2014, powder-coated steel, tuff stones, ceramics, 180 x 120 cm

Moss Garden, 2014, powder-coated steel, tuff stones, ceramics, 180 x 120 cm [detail]


A moss garden holding many different species of plants occupies the gallery floor. Beneath the bed and partly obscured are glazed clay sculptures and tuff stones. The moss has been collected and carefully arranged by Ray Tangney, Head of the collection of Lower Plants at National Museum of Wales. The moss requires moist conditions in order to exist and thrive in the duration of its display. 

Benches, 2012 -2018, handwoven fabric, wood, plastic crates, 45.80 x 200 x 40 cm, installation view, Andrea Büttner Shepherds and Kings, Bergen Kunsthall, Bergen, 2018. Photo: Thor Brødreskift

Benches (stack), 2011, wood and stacking crates,
183 x 200 x 40 cm

Ancestor Dumplings, 2011, unfired clay, water, plastic sheet, dimensions variable


Shepherds and Kings, 2017, 160 analogue 35mm slides

Library Karmel, 1964, photo projector slide

Stereoscopic slide show form the Whitehouse Collection (Mosses and Field Trips), 2014, 160 analogue 35 mm slides

The archive of the lives of the Little Sisters of Jesus with circuses and fun fairs, The Fontane, Rome, 2012, 80 analogue 35mm slides


What is so terrible about craft? / Die Produkte der Menschlichen Hand, 2019, double-channel video 32 minutes, [still]

In What is so terrible about craft?, 2019, Büttner explores the relationship between intimate artistic production and public exposure, as well as the interrelation between ethics and aesthetics. The dual-screen work is composed of two German interior spaces, a church and a department store for household goods. The work examines how Western European traditions of craft have been infused with models of life and ways of being. Büttner questions whom these models are serving and how craft is deployed to ‘heal the wounds of modernity’. The film considers craft’s ongoing relation to reactionary political movements, as well as its role in national narratives and religious identity formation.

Karmel Dachau, 2019, HD video, colour, sound [German with English subtitles] 32.25 minutes, [still]

In Karmel Dachau, 2019, Büttner engages with the Carmelite convent Heilig Blut, founded in 1964 and located next to the Dachau Concentration Camp Memorial Site. The proximity to the historic site of suffering was a deliberate decision by the Carmelites, who intended the convent to serve, alongside the memorial site, as a space for reconciliation. Büttner’s film opens a dialogue with the nuns of the convent to consider themes of remembrance and repression, religion and violence, contemplation and forgiveness.

Little Sisters: Lunapark Ostia, 2012, HD video, 42 minutes, [still]

Little Works, 2007, video, 10.45 minutes, [still]

Little Works, 2007, offers a glimpse into the lives of a closed order of Carmelite nuns in Notting Hill, London. Since Büttner herself was unable to enter the walls of the convent, she handed the camera to one of the sisters to record the making of ‘little works’—small, hand-crafted offerings made in the nuns’ recreational time, ranging from crochet baskets to religious icons. Among the footage are individual interviews with the nuns discussing their chosen handicraft and a collective display of their works presented akin to an exhibition. While the nuns’ concerns over the manufacture and display of their craft works are similar to the self-doubts of a professional artist, Little Works presents a wistful image of a creative microcosm untouched by the compromises of a secular age, while raising questions about the value systems existing around creative production.


Andrea Büttner über das Liber Vagatorum
Article by Andrea Büttner, Monopol, 11 January 2022

Rückzug Kommt Nicht in Frage
Interview by Ursula Scheer, Frankfurter Allgemeine Woche, April 2020

Review: Andrea Büttner at Hollybush Gardens, London
Review by Emily LaBarge, Artforum, Vol. 58 No. 5, January 2020 

On Vulnerability and Doubt
Review by Sophie Knezic, Frieze, No. 205, September 2019

Andrea Büttner on Her Iconographies of Poverty
Interview by Juliana Halpert, Artforum, 23 October 2018  

Andrea Büttner: Gesamtzusammenhang
Review by Aoife Rosenmeyer, ArtReview, May 2017

Embarrassment of Riches
Feature by Brian Dillon, Frieze, No. 180, June–August 2016

Andrea Büttner
Feature by Julia Bryan Wilson, Parkett, Vol. 97, 2015

Angle of Repose: The Art of Andrea Büttner
Feature by Martin Herbert, Artforum, Vol. 53 No. 7, March 2015

Review: Andrea Büttner at Hollybush Gardens, London
Review by Charlotte Bonham-Carter, Art in America, May 2012

Andrea Büttner, “Moos/Moss”
Review by Laura McLean-Ferris, Art Agenda, 16 February 2012



Andrea Büttner (b. 1972, Stuttgart, Germany), lives and works in Berlin, Germany, and is Professor for Art in the Contemporary Context at Kunsthochschule Kassel. She received a PhD from the Royal College of Art, London, and prior to that studied at the Humboldt University of Berlin and Berlin University of the Arts. Her practice connects art history with social and ethical issues, exploring broad-ranging topics such as poverty, work, community, belief, botany, Catholicism, and philosophy. Her work is based on thorough research into specific areas or situations, and is articulated through diverse formats including printmaking, sculpture, painting, photography, and video.

Büttner was shortlisted for the 2017 Turner Prize and is a winner of the 2009 Max Mara Art Prize for Women. Significant recent solo exhibitions include What is so terrible about craft?, Kunstverein München, Germany (2019); The Heart of Relations, Hollybush Gardens, London (2019); Shepherds and Kings, Bergen Kunsthall, Norway (2018); Hammer Projects: Andrea Büttner, Hammer Museum, Los Angeles, USA (2017); Beggars and iPhones, Kunsthalle Wien, Austria (2015); Andrea Büttner, Walker Art Center, Minneapolis, USA (2015), BP Spotlight: Andrea Büttner, Tate Britain, London, UK (2014); and Andrea Büttner, Museum Ludwig, Cologne, Germany (2014). Selected group shows include Donation Outset — KW Production series, Museum Abteiberg, Mönchengladbach, Germany; The Roaring Twenties, Guggenheim Bilbao, Spain; The Displacement Effect, Capitain Petzel, Berlin, Germany (all 2021); Parliament of Plants, Kunstmuseum Liechtenstein; Smoke and Mirrors, Kunsthaus Zürich; Amish Quilts Meet Modern Art, Staaliches Textil-und Industriemuseum Augsburg, Germany; and The Botanical Mind, Camden Art Centre, London (all 2020); On Vulnerability and Doubt, Australian Centre for Contemporary Art, Melbourne, Australia (2019); 33rd Bienal de São Paulo (2018); Turner Prize, Ferens Art Gallery, Hull, UK (2017); Broken White, Van Abbe Museum, Eindhoven, the Netherlands (2016); British Art Show 8, UK touring exhibition (2016); and dOCUMENTA (13), Kassel, Germany (2012). 

Her work is held the collections of art institutions internationally, including Tate, London; Museum of Modern Art, New York; Walker Art Center, Minneapolis; National Museum Cardiff, Wales; MMK Museum für Moderne Kunst, Frankfurt; Museum Ludwig, Cologne; Lenbachhaus, Munich; Kunstmuseum Bonn; Staatsgalerie Stuttgart; Hamburger Kunsthalle, Germany; Julia Stoschek Collection, Düsseldorf; Reina Sofia, Madrid; Kunsthas Zürich; Walter Phillips Gallery, The Banff Centre, Canada; Collezione Maramotti, Reggio Emilia, Italy.


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