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David Kordansky Gallery is pleased to announce a solo presentation with Andrea Büttner at Independent. This installation is the London- and Frankfurt-based artist's first solo project with the gallery and her first in New York.

The warm conceptualism of Andrea Büttner is widely recognized in the U.K. and Europe––recent exhibitions include dOCUMENTA (13), 2012, and five institutional solo shows in 2014: Douglas Hyde Gallery, Dublin; Hidden Marriage, National Museum Cardiff, Wales; Piano Destructions, Walter Phillips Gallery, The Banff Centre, Canada; Tate Britain, London; and 2, Museum Ludwig, Cologne which closes March 15. Her research-driven, multimedia practice radically embraces, if not redeems the disesteemed and overlooked. Drawing from the humility of St. Francis of Assisi, the anxieties of Dieter Roth, and the lowliness of moss plants, among many "lesser" influences, Büttner produces prints, paintings, tapestries, and videos that counter prevalent value judgments and their underlying belief systems. Drawing parallels between everyday devotional exercises, whether creative, religious, or political, professional or hobbyist, she presents signs of poverty, inelegance, littleness, and itinerancy and related feelings of embarrassment and shame as positive, if not heroic.

Simultaneously material and cerebral, expressive and minimal, humorous and weighty, hot and cool, her aesthetic ethos critically upends the significance of such binary distinctions.

Andrea Büttner (b. 1972, Stuttgart) lives and works in London and Frankfurt. Besides the above, recent solo exhibitions of her work include: MMK Museum für Moderne Kunst, Frankfurt (2013); MK Gallery, Milton Keynes, England (2013); The Poverty of Riches, Whitechapel Gallery, London; and Nought to Sixty, Institute of Contemporary Arts, London (2008). Her work has also recently been featured in group exhibitions including The Assistants, David Kordansky Gallery, Los Angeles (2013); dOCUMENTA (13), Kassel, Germany, and Kabul, Afghanistan (2012); 29th São Paulo Biennial (2010); and Unto This Last, Raven Row, London (2010). In November 2015, the Walker Art Center, Minneapolis will present a survey of Büttner’s work curated by Fionn Meade.

Büttner's installation for Independent comprises a selection of new and recent works that exemplify the depth of her practice. Constellating visual forms and thematic concerns, she arranges fabric paintings and glass paintings, woodcut and offset prints, clay sculpture, video, and benches against the backdrop of her iconic and framing "Brown Wall Painting", 2006. For the latter, the artist (or a proxy of equal height) marks the exhibition walls as high as she can reach and then covers the areas below in chocolate-brown paint. Contrarily imbuing the white cube with bodily resonances, specifically digestion and the artist’s stature, Büttner's off-color walls uneasily evoke both the pride and vulnerability of creation and display. As a measure of resistance, the painting also recalls the “dirty” a.k.a. “no wash” protests during The Troubles in Northern Ireland.