DORA BUDOR NEW GALERIE

Selected press No. 21, 2016 From Cura magazine

DORA BUDOR byDORA Noah BUDORBarker DORAby NoahDORA BUDOR Barker BUDOR by Noahby Noah Barker Barker

Dora Budor has a reality complex. Perhaps tus of spectacle into real space, doubling it’s a symptom of her cinephile youth the suture of cinema. Originally anatomi- spentDora wandering Budor has a mental a reality “wilderness complex. Perhapsof cal, tussuture, of spectacle a conceptual into realtransplant space, of doubling La- elsewheres,”it’s a symptom as Robert of her Smithson cinephile descri- youth canianthe psychologysuture of cinema. into film Originally theory, anatomi- besDora spentthe Budor mind wandering has Doraon amovies. reality Budor a mental 1complex. hasIn further a“wilderness reality Perhaps eva- complex. of Perhapsdescribestus ofcal, spectacle suture, thetus outside a into conceptualof spectacle real spectator space, transplant into doublingfilling real an space,of La- doubling it’sluation aelsewheres,” symptom we mightit’s of asa queryher symptom Robert cinephile Lacan: Smithson of does heryouth cinephile the descri- youthabsentthe caniansuture subject ofpsychology cinema.the signified suture Originally into ofby cinema.filmthe frame,theory,anatomi- Originally so anatomi- spentgazebes engrave? wandering the mindspent In aonother mentalwandering movies. words, “wilderness1 In aas furthermental an ofeva- “wildernessascal, toof describessuture, close athe conceptualcal, the fourth suture,outside wall. transplanta spectator conceptualIt is the cine-of filling La-transplant an of La- elsewheres,”imageluation in the we aseye,elsewheres,” might Robert does query anSmithson objectas Lacan: Robert impressdescri- does Smithson the descri-maticcanianabsent mechanism psychology subjectcanian that signifiedinto psychology wraps film theory,by the the into wande- frame, film theory,so 1 1 bespermanently gazethe mind engrave? upon beson movies. the vision?In othermind InAnd onwords, further movies.if that as eva- ob-anIn further eva-ringdescribesas Budor to close the in describes elsewheres.outside the fourth spectator the wall.The outside atopiaIt fillingis the spectator of ancine- filling an jectluation imagewere we so inmight frequentlytheluation eye,query wedoes film,Lacan: might an “wrapping object doesquery the impressLacan: does theabsentthe maticcinema subject mechanism longabsent signified ago subjectreplaced that by wraps the signified the frame, the utopia wande- byso the frame, so [Budor]gazepermanently engrave? in uncertainty,”gaze In upon other engrave? vision?as words, Smithson In And asother an if conti- thatwords, ob- as anofas thetoring close future. Budor the Seated,as infourth to elsewheres. close lookingwall. the It fourth is outThe the at atopia cine- wall.the Itof is the cine- nues,imageject how in were the might eye,soimage frequently thedoes in world thean object eye,film,continue does “wrapping impress toan ap- object impressculturalmaticthe mechanism cinemalandscape,matic long that it’smechanism ago wrapsno replaced secret the that thatwande- the wraps utopia the wande- pear?permanently[Budor] For a inproper uponpermanently uncertainty,” vision?diagnosis Anduponas weSmithson if vision? thatshould ob- Andconti- if thatblockbusterring ob-of Budor the future. in science ringelsewheres. Seated, Budor fiction inlooking The elsewheres.has atopia inherited out atof Thethe atopia of observeject nues,were the sohow artist’sfrequentlyject might were contagion the sofilm, world frequently “wrapping in continue which film, to “wrapping ap- the culturalrolecinema of proposing longlandscape,the agocinema replacedother it’s long no worlds, secret agothe utopia replacedonce that the utopia cantankerous[Budor]pear? in Foruncertainty,” [Budor] aobjects proper in formed asdiagnosis uncertainty,” Smithson by thewe conti- asmodeshould Smithson theofconti- the blockbusterpursuit future. of Seated, ofbestselling thescience future. looking fiction utopian Seated, out has atnovels looking inheritedthe in out at the ofnues, spectacularobserve how might thenues, production artist’s the how world contagion might infect continue the consciou- inworld whichto ap- continue theculturalto ap-thenineteenth rolelandscape, ofcultural proposingcentury. it’s landscape, no It’s other secret these worlds, thatit’sproduc- no oncesecret that sness,pear?cantankerous Forreined a proper pear?by empirical objects diagnosisFor a properformed reality, we diagnosis shouldwithby the su- mode we shouldtionsblockbusterthe Budor pursuit prefersscienceblockbuster of bestselling to fiction exhume, science has utopian inheritedresuscita- fiction novels has in inherited blimatedobserveof spectacular the specificity. artist’sobserve production contagion the artist’s infectin whichcontagion consciou- in whichtingthe theroletheir nineteenth of unsettled proposingthe role century. remains. otherof proposing It’sworlds, these otheronce produc- worlds, once cantankeroussness, reinedcantankerous objects by empirical formed objects byreality, the formed modewith su- by thethe mode tionspursuit Budor of thebestselling prefers pursuit to ofutopian exhume, bestselling novels resuscita- utopian in novels in Alongof spectacularblimated these lines,specificity.of production spectacular the hall infectof production The consciou- Archi- infect consciou-Inthe Mental tingnineteenth their Parasite unsettledthe century. nineteenth Retreat remains.It’s 1these (2014)century. produc- Budor It’s these produc- tect’ssness, Plan, reined His sness,by Contagion empirical reined andreality, by empiricalSensitive with su- reality, withplaystions su- BudorDr. Frankenstein, preferstions Budor to exhume,integrating prefers resuscita- to the exhume, resuscita- CorridorsblimatedAlong specificity. (2015)theseblimated lines,bore athe specificity. prosthetic hall of The infra- Archi- ‘Surrogates’ting Intheir Mental unsettled chest tingParasite their plate remains. Retreat unsettled worn by1 (2014) Bruceremains. Budor structuretect’s fixedPlan, withHis Contagion scars from and 300: Sensitive Rise Willisplays into Dr.the Frankenstein, backrest of a integrating pale fleshy the ci- Alongof anCorridors Empire these lines,. Along(2015)Criss-crossing the thesebore hall a lines,of prosthetic electricalThe the Archi- hall infra-pa- of The Archi-nemaIn Mental‘Surrogates’ seat. Parasite WhatIn Mentalchest was Retreat a plate Parasitefabric 1 worn(2014) cushion Retreat by Budor Bruce has 1 (2014) Budor tect’snelsstructure and Plan, broaching His fixedtect’s Contagion with Plan,the wall,scars His and siliconeContagion from Sensitive 300: inte- andRise SensitivebeenplaysWillis lifecastDr. Frankenstein,into asplaysthe silicone backrest Dr. Frankenstein,integrating substitute, of a pale the utili- fleshyintegrating ci- the Corridorsstinesof anrun Empire(2015) alongsideCorridors .bore Criss-crossing metal a (2015)prosthetic piping. bore electrical infra-The a prosthetic size pa- infra-zing‘Surrogates’nema the transformative seat. chest‘Surrogates’ What plate was technologiesworn achest fabric by plateBruce cushion ofworn has by Bruce ofstructure largenels televisions,and fixed broachingstructure with scarsthe fixed thewounded from wall, with 300: silicone scarsplanes Rise from inte- 300: HollywoodWillisRisebeen into lifecast the makeup Willisbackrest as into reservedsilicone ofthe a backrestpale substitute, for fleshymutant of ci-autili- pale fleshy ci- recallof anstines Empirea healed run. of Criss-crossingalongside Lucio an Empire Fontana. metal. Criss-crossing electrical Marapiping. Ho- Thepa- electricalsize beingsnema pa-zing seat. and the WhatBenjamin transformativenema was seat. Buttons.a fabric What technologies cushion wasThe chesta fabric has of cushion has bermannelsof and large noted broaching televisions,nels in Artforum and the broaching wall,the, April wounded silicone 2015, the inte-wall, planesthe siliconeexpandsbeen inte-Hollywood lifecast and retracts:asbeen makeup silicone lifecast lungs reserved substitute, as or silicone motor? for utili-mutant substitute,As utili- perversionstinesrecall run a alongside ofhealed stines“screens Lucio run metal of alongside Fontana.skin” piping. made MaraThemetal from size Ho- piping. Theazing new sizebeings the nightmare, transformative andzing Benjamin thethe chairtransformative technologies Buttons. is less chairThe oftechnologies chest of theof large bermanfalse televisions, skin noted ofon-screen. large in the Artforum televisions, wounded Yet their, April theplanessurgical 2015, wounded the planesthanHollywoodexpands appears. makeup andHollywood Though retracts: reserved without makeup lungs for the ormutant reserved cameomotor? Asfor mutant graderecallperversion astainless healedrecall ofLucio steel “screens a Fontana.healedframing of Lucio skin”mildly Mara Fontana.made Ho-deters from Mara object,beingsHo-a new asand anightmare, Benjaminseeminglybeings and theButtons. benign Benjaminchair elementTheis less chestButtons. chair of The chest Kristevanbermanthe false noted abjection: skinberman in Artforum on-screen. closer noted, Aprilto in Yet a Artforum cadaver 2015,their surgicalthe, ofApril 2015,theaterexpands thethan architecture, appears.and retracts:expands Though the lungsand seat without retracts: or situates motor? the lungs thecameo As or motor? As theperversion gradecinematic stainless of perversion“screensillusion steel than of of framingskin” its“screens corpse. made mildly of fromCer- skin” deters madebodya fromnewobject, in nightmare, the as movie aa newseemingly the machine nightmare, chair benign isto less suffer the elementchair chair the is ofless chair tainlythe Kristevanfalse they skin are theabjection: on-screen.specimens false skin closer Yet of on-screen. violence:their to a surgical cadaver on,Yet their of surgicalduelthantheater violenceappears. architecture, than ofThough ritualized appears. without the architectural Thoughseat the situates cameo without the the cameo towards,gradethe stainless cinematic and ofgrade steelthe illusion screen.stainless framing than As steelmildly itssuch, corpse. framing detersper- Cer- mildly spaceobject,detersbody andas in a the theseeminglyobject, dislocating movie as machinebenign a seemingly suture. element to Insuffer itsbenign offle- the element of versityKristevantainly is nottheyabjection: foundKristevan are specimens incloser the abjection: manufactured to aof cadaver violence: closer ofto on, a cadavershlytheater duel ofstate, architecture, violence thetheater work, of ritualizedwith thearchitecture, seat others situates architectural of the Budor, theseat situates the wound,the towards,cinematic but in and theillusionthe of cinematicact the ofthan screen.grafting its illusion corpse. As the such, than detri- Cer- itsper- corpse.reconstitutesbody Cer-space in the and movie bodyexisting the machinedislocatingin theorders movie to of suture.suffer determina-machine the In its to fle- suffer the tainlyversity they areis nottainly specimens found they in are theof specimensviolence: manufactured on, of violence:duel on,shly violence state, duel ofthe ritualized work,violence with architectural of others ritualized of Budor, architectural towards,wound, and but oftowards, inthe the screen. act and of of Asgrafting the such, screen. theper- detri- As such,space per-reconstitutes and thespace dislocating existing and the orderssuture. dislocating of In determina- its fle-suture. In its fle- versity is not foundversity in is the not manufactured found in the manufacturedshly state, theshly work, state, with the others work, of with Budor, others of Budor, 188 wound, but in wound,the act butof grafting in the act the of detri- grafting the reconstitutesdetri- reconstitutesexisting orders existing of determina- ordersHOT! of determina- Dora Budor 188 NEWHOT! GALERIE 188 188 HOT! HOT! No. 21, 2016 From Cura magazine

DORA BUDOR

tion: the intrusions byof a body Noah in architec- Barkertions. And where was the artist when ture and upon screen are exchanged for these films were released? In Zagreb, the infectious relationsDORA of surface and BUDORenduring civil war. Like Johnny Mnemo- structure becoming premediated flesh. nic, who gave up his childhood memo- Symbolically, flesh byis liberated Noah from co- Barkerries to become a human hard drive, gnitive constraints, evoking the body Budor filled her early life with foreign horror of David Cronenberg, who at- data made on a soundstage 6,000 miles tempts to depict the “independence of away. Unspecific memories of uncertain the body, relative to the mind, and the futures forgotten en-mass by a global Doradifficulty Budor hasof the a reality mind complex.accepting Perhaps what that tus audience.of spectacle A populationinto real space, of Johnny doubling Mne- it’s revolutiona symptom might of her entail.” cinephile2 youth the monicssuture of would cinema. really Originally be closer anatomi- to an army spent wandering a mental “wilderness of cal, suture, a conceptual transplant of La- Analogous to the fractious flesh, the arti- of Blade Runner replicants. At the end of elsewheres,” as Robert Smithson descri- canian psychology into film theory, fact gains autonomy living within a new Ridley Scott’s director’s cut, Harrison bes the mind on movies.1 In further eva- describes the outside spectator filling an Doraillusion, Budor freehas froma reality its complex.circulated Perhaps image. tus Ford,of spectacle having intodreamt real ofspace, a mythical doubling horned it’sluation a symptom we might of queryher cinephile Lacan: does youth the theabsent suture subjectof cinema. signified Originally by the frame,anatomi- so gazeAs engrave? subordinate, In other the words,body yields as an action to as tohorse close earlier, the fourth glances wall. anIt is origami the cine- unicorn spentthought, wandering which a mentalin turn is“wilderness regulated of by cal, onsuture, the floora conceptual beside the transplant android of he’s La- elsewheres,”image in the aseye, Robert does anSmithson object impressdescri- canianmatic mechanism psychology that into wraps film theory, the wande- empirical reality and its governing princi- been hunting. He simultaneously ackno- bespermanently the mind upon on movies. vision?1 InAnd further if that eva- ob- describesring Budor the in elsewheres.outside spectator The atopia filling of an ple of sese conservare. However, in ab- wledges his cognition as constructed luationject were we so might frequently query film,Lacan: “wrapping does the absentthe cinema subject long signified ago replaced by the the frame, utopia so sorbing and amplifying the dialectical and a solidarity with the female replicant. gaze[Budor] engrave? in uncertainty,” In other as words, Smithson as an conti- asof theto close future. the Seated, fourth lookingwall. It isout the at cine- the imagenues,specificity how in the might eye, of the does captured,world an object continue projected, impress to ap- maticculturalLikewise, mechanism landscape, Budor that it’s impregnates wrapsno secret the thatwande- our reality, permanentlypear?and For consumed a proper upon vision?diagnosisprop, an And original we if thatshould forob- what ringblockbustermade Budor fertile in science elsewheres. by spectacle, fiction The has atopiawith inherited its of own jectobservewas were only the so artist’sfrequentlyintended contagion asfilm, simulacrum, “wrapping in which the the negation:cinemarole of proposing long a fragment ago replacedother of worlds, a theshared utopia once mirage [Budor]cantankerousnew inillusion uncertainty,” objects sublimates formed as Smithson this by principlethe conti- mode of ofthe the materializespursuit future. of Seated, bestselling to reveal looking utopian common out atnovels thecoma- in nues,of spectacularself how preservation, might production the worldin which infect continue a consciou-subject to ap- indi- culturalthe tose,nineteenth landscape, as Smithson century. it’s no wrote,It’s secret these “somewhere thatproduc- at pear?sness,viduates Forreined a properitself by empirical from diagnosis the reality, world we should withby inflec- su- blockbustertionsthe Budor bottom prefersscience of (our) to fiction exhume, memory has inheritedresuscita- are the re- observeblimatedting the the specificity. world artist’s with contagion identity. in which theting mains roletheir of unsettled ofproposing all the remains. films other (we’ve) worlds, ever once seen.”3 cantankerous objects formed by the mode the pursuit of bestselling utopian novels in ofAlong spectacularIn thethese continuous lines, production the veinhall infect ofof Thecorporealiza- consciou- Archi- theIn Mental nineteenth Parasite century. Retreat It’s 1these(2014) produc- Budor sness,tect’stion, Plan, reined the His cast by Contagion empiricaliron radiators andreality, Sensitive of with Spring su- tionsplays BudorDr. Frankenstein, prefers to exhume,integrating resuscita- the blimatedCorridors(2015) specificity. (2015)feature bore blistered a prosthetic spans infra-of horror ting‘Surrogates’ their unsettled chest plate remains. worn by Bruce structuremovie fixedsourced with fleshscars swallowing from 300: Rise the de- Willis into the backrest of a pale fleshy ci- Alongof antritus Empire these of Sci-Fi lines,. Criss-crossing theestablishing hall of electricalThe shots: Archi- pa-ware- Innema Mental seat. Parasite What was Retreat a fabric 1 (2014) cushion Budor has tect’snelshouse, and Plan, broaching garage, His Contagion livingthe wall, unit. and silicone Yet,Sensitive for inte- the playsbeen lifecastDr. Frankenstein, as silicone integrating substitute, the utili- stines run alongside metal piping. The size zing the transformative technologies of Corridorsdifference(2015) between bore a prostheticthe films from infra- which ‘Surrogates’ chest plate worn by Bruce of large televisions, the wounded planes Hollywood makeup reserved for mutant structurethe model fixed buildings with scars are from sourced 300: Rise [Johnny Willis into the backrest of a pale fleshy ci- recall a healed Lucio Fontana. Mara Ho- beings and Benjamin Buttons. The chest of anMnemoni Empire.c Criss-crossing (1995), The Fifth electrical Element pa- nema seat. What was a fabric cushion has nelsberman and noted broaching in Artforum the wall,, April silicone 2015, inte- the beenexpands lifecast and retracts:as silicone lungs substitute, or motor? utili- As perversion(1997), Batmanof “screens Returns of skin”(1992)], made the from scale a new nightmare, the chair is less chair stinesstructures run alongside are remarkably metal piping. similar The insize in- zing the transformative technologies of ofthe large false televisions, skin on-screen. the wounded Yet their planessurgical Hollywoodthan appears. makeup Though reserved without for the mutant cameo dustrial aesthetic and patina. The movies recallgrade astainless healed Lucio steel Fontana.framing mildly Mara Ho-deters beingsobject, asand a Benjaminseemingly Buttons. benign elementThe chest of are from an era just before the industry bermanKristevan noted abjection: in Artforum closer, Aprilto a cadaver 2015, the of expandstheater architecture, and retracts: the lungs seat or situates motor? the As wide transition into the primarily digital. perversionthe cinematic of “screensillusion than of skin” its corpse. made fromCer- abody new in nightmare, the movie the machine chair isto less suffer chair the thetainlySuch false they productions,skin are on-screen.specimens in Yetfixing of violence:their the surgical worlds on, thanduel1. violenceappears. Robert Smithson ofThough ritualized and without Jack architectural D. Flam, the cameoAtopia of Ci- gradetowards,they stainless postulated and of steelthe screen.in framing images, As mildly such,left behind detersper- object,spacenema andas in a Robertthe seemingly dislocating Smithson: benign The suture. Collected element In Writingsits offle- versitysmall is (verynot found small) in thecities manufactured as fragments of shly(Berkeley: state, the University work, withof California, others 1996). of Budor, Kristevan abjection: closer to a cadaver of theater2. David architecture, Cronenberg, the “Interview seat situateswith David the Cronen- thewound,the cinematic memories but in illusionthe actthey ofthan became. grafting its corpse. theAs detri-tempora- Cer- bodyreconstitutesberg,” in theMondo movie existing 2000 ,machine 2000. orders Available to of suffer determina-at http://www.da- the tainlylity they impedes, are specimens the nineties of violence: were long on, duelvidcronenberg.de/mond2000.html. violence of ritualized architectural towards,enough and ago of theto have screen. forgotten As such, its per- fic- space3. Robert and the Smithson dislocating and Jack suture. D. Flam, In ibid. its fle- versity is not found in the manufactured shly state, the work, with others of Budor, 188 HOT! The Architect, Loss at the Surface, 2014 (above) One Million and One Years of Feeling Nothing, 2015 (below) Mental Parasite Retreat 1, 2014 (p. 189) All images Courtesy: the artist and New (p. 189) (below) Mental Galerie, Paris Parasite 1, 2014 Retreat Nothing, of Feeling 2015 (above) One at the Surface, Million Loss 2014 and One Years Architect, The wound, but in the act of grafting the detri- reconstitutes existing orders of determina- Dora Budor NEW GALERIE 188HOT! HOT! 191 June 2015 From Mousse magazine Interview

MOUSSE 49 52 D. BUDOR THE WAY THEY HAVE SEX IS TO CUDDLE, THEN THIS STRANGE ECTOPLASM

BY KATHY NOBLE

Kathy Noble met with Dora Budor —an artist of Croatian origin based in New York—to discuss the influence of cinema on her work, interweaving the staged fiction of film with lived experience: ranging from cyberpunk and symbiogenesis, to the endless worries and politics of being a human body and mind, via physical scars, infection, illness, ageing, the survival of our psyche, and the body’s lymphatic relationship to physical environments—all of which manifest in Budor’s work. Discussing ideas related to science fiction —from the disturbing visions of David Cronenberg, to popular Hollywood blockbusters—they consider cinema as a space in which alternative worlds can be constructed to form a social commentary that addresses contemporaneous issues and anxieties; from ecological apocalypse to the evolution of artificial intelligence. And situated this in a wider consideration of the affect of conscious and unconscious fantasy in relation to “real” experience.

Opposite - Mental Parasite Retreat 1, 2014. Courtesy: the artist and New Galerie, Paris Dora Budor NEW GALERIE June 2015 From Mousse magazine Interview

MOUSSE 49 THE WAY THEY HAVE SEX (...) 53 52 D. BUDOR K. NOBLE THE WAY THEYLIQUID COMES HAVE SEX ISOUT TO OF CUDDLE, THENDIFFERENT THIS STRANGEPARTS OF ECTOPLASMTHEIR BODIES Dora Budor (b. 1984 in Croatia) lives and works in New York. Her work considers the representation of emotional and physical experience within the ideological subtexts that occur in mainstream cinema—particularly within Hollywood production methods, where ideas transfer between different states of materialization, fictionalization and digitalization. Budor makes sculptures and architectural interventions, which are often built around screen-used cinema props, special effects, and production methods, and employ the capital of cinematic strategies of affect. She approaches this as an act of “reanimation”: acknowledging their fictional histories, while radically BY KATHY NOBLE recontextualizing them in a second life. Budor has exhibited extensively throughout the U.S. and Europe. Recent exhibitions include “The Architect’s Plan, His Contagion and Sensitive Corridors”, at New Galerie, Paris; “Believe You Me” with 247365, New York and “Flat Neighbors” at Rachel Uffner, New York; and group exhibitions such as “Inhuman” (2015) at the Fridericianum, Kassel. Recently she participated in panel discussions at Judd Foundation, Art Basel Miami Salon and the Whitney Museum of American Art. She is also a winner of the Rema Hort Emerging Art Award (2014) and is co-director of the project space Grand Century in New York. Budor has a forthcoming solo exhibition at Swiss Institute, New York (opening June 23, 2015).

Kathy Noble met with Dora Budor —an artist of Croatian origin based in New York—to discuss the influence of cinema on her work, interweaving the staged fiction of film with lived experience: ranging from cyberpunk and symbiogenesis, to the endless worries and politics of being a human body and mind, via physical scars, infection, illness, ageing, the survival of our psyche, and the body’s lymphatic relationship to physical environments—all of which manifest in Budor’s work. Discussing ideas related to science fiction —from the disturbing visions of David Cronenberg, to popular Hollywood blockbusters—they consider cinema as a space in which alternative worlds can be constructed to form a social commentary that addresses contemporaneous issues and anxieties; from ecological apocalypse to the evolution of artificial intelligence. And situated this in a wider consideration of the affect of conscious and unconscious fantasy in relation to “real” experience.

Opposite - Mental Parasite Retreat 1, 2014. Courtesy: the artist and New Galerie, Paris Dora Budor NEW GALERIE June 2015 From Mousse magazine Interview

MOUSSE 49 54 D. BUDOR

KATHY NOBLE researching props and staging, out of pure obsession. I When did you start working with film, or the movies, as a subject, wanted to know how these things were structured, staged, and why? made and performed. DORA BUDOR K N My interest began when I was very young. My grandfather was an So you were seeing this dominant Western mainstream thing in re- actor for television and theatre in Yugoslavia where I grew verse, as an outsider, as a kind of “other.” up. And my grandmother was one of the first female tele- D B vision directors. My parents were both painters and would In an odd way. I felt very much a foreigner. European cinematog- take me to see art house films all the time. I remember watch- raphy is extremely different. So this helped me to under- ing Fellini’s and Bergman’s films when I was about six, and stand American culture and the way people communicate. being totally unable to understand them. K N K N It sounds like a kind of anthropological investigation that you were Did you enjoy them? making, in relationship to the tools and mechanics used in D B production. I enjoyed them, but I didn’t get them properly. I remember real- D B ly loving Amarcord (1973). I could relate to it because the I became fascinated by the tropes that are created and repeat them- characters were insane and loving at the same time. They selves. Blockbusters at surface level might seem entertain- reminded me of my family where everyone had their own ing and flat. But there are many different sublevels of polit- very peculiar story. The scene where crazy uncle Teo climbs ical and social relationships or commentaries that occur in up the tree and screams “Voglio una donna!” (“I want a them too. woman!”), and then the people from the asylum march up K N the ladder to return him to the asylum. “We are all mad at Yes. Certain story lines are infinitely repeated and become part of times,” sighs his brother afterwards. My grandad would the “real” social narratives we live in, though they are fic- smoke 3 packs of cigarettes per day, and there were always tional; a kind of soft or covert indoctrination into certain ashes in the really delicious meals he would prepare for politics, behaviors or patterns of thought. hours. He wrote poetry, and when he was 65 he ended up D B becoming a general in the Yugoslavian war. He taught me Yes, and the genres—such as sci-fi or action—reinforce this. If how to shoot like a sniper, too! My grandma liked to drink a you look at the last few years of sci-fi blockbusters, there lot; she was kind of a wild one. And my parents were “nor- are specific topics that get focused on all at once. This year mal,” though not at all normal in comparison with all the has been about artificial intelligence, with movies such as other families from my school. I remember when my peers Transcendence (2014) and Ex Machina (2015), or Lucy (2014). saw my dad digging through furniture and garbage on the But two or three years ago it was the imminent apocalypse street looking for some old etchings; I was so embarrassed and global warming destroying the world, with scenarios that I cried afterward: “I just wish my parents worked in a about what happens afterwards to rebuild humanity, such as bank and were normal!” I began to go to film festivals when Snowpiercer, After Earth or Pacific Rim (all 2013). K N I was a teenager, but the blockbuster industry was consid- ered very trashy. So they were dealing with the actual social situations and politics of K N the moment, forming fictional paradigms of what’s happen- But your work deals with these very clichéd popular movies. ing in reality. D B D B I did watch some blockbusters, but when I moved to the US seven Scientists and researchers are exploring these fields via experimen- years ago my friend took me to the cinema. The experience tal and philosophical research. In film there is this wide-open was radically different from going to the cinema in Europe. playground where you can actually imagine and test out these In the States people got involved in it as a kind of public scenarios in the most extreme form of speculation. Film en- event. Ten friends together, eating popcorn and screaming ables these propositions to become a temporary reality. at the characters on the screen. It felt so different than the K N solitary art cinema experience I was used to. Why did you become interested in science fiction in particular—for K N this relationship between reality and imagination? In some Yes, that’s true! I had that experience in a cinema in LA; the audi- ways sci-fi seems almost religious—as a form of myth mak- ence was so excited and so vocal. Like a mass, communal ing and creation of belief systems, or alternative realities. experience. The repressed English person in me was really D B confused. I loved Blade Runner (1982). When I was a teenager I was into cy- D B berpunk. But the works translated into Croatian were really Everyone had a strong emotional reaction and connection with bizarre. Like the B or C versions of cyberpunk books. I devel- what was happening in the movie. I became really excited. oped an obsession with the future scenarios: who are we going K N to become, how are our bodies going to improve, or degrade? Cinema is often talked about as a collective experience. How will our emotions change when we become different D B kinds of beings? Are we still human if we gradually integrate I also noticed how Americans referred to television and cinema AI into our lives? What are the limits of being a human? much more in their daily lives than Europeans do. K N K N So what constitutes being a “human”? Is it our consciousness that Almost as if these things are non-fiction and a part of their emo- makes us human? D B tional reality? D B This is the question that Transcendence and all those AI movies are Yes. And it’s a kind of American cultural legacy, which artists like asking. But of course it is a real question for scientists working Warhol of course tapped into. During my first week in New today. And various approaches appear—firstly, a fear of ro- York I felt like I was actually living in a film set, since I knew bots taking over humanity, becoming more evolved than us, those environments already, from watching them. and destroying us, in a Darwinian way. I am more interested in K N the idea of “symbiogenesis” that Donna Haraway wrote about The architectures become like characters in themselves. in the book When Species Meet (Posthumanities), 2007. D B K N

It was an extreme form of déjà vu, quite surreal. I began All of her thoughts around this began in the 1980s when she wrote

Dora Budor NEW GALERIE June 2015 From Mousse magazine Interview

MOUSSE 49 56 D. BUDOR

the Cyborg Manifesto in 1983, which was extremely radical have histories—they change and are scarred by events we and interweaves this all in strong socialist-feminist poli- live through. The body has survived those events. These are tics. I re-read it recently when I was writing about Lynn not bodies given by nature, but engineered by existing in the Hershman Leeson, who was also way ahead of her time in world. I find scars empowering, as reminders and as “ob- exploring human relationships to technology and alternate jects” that tell a story. forms of “being.” K N D B They are a physical embodiment of something that was probably And Haraway’s book The Companion Species Manifesto, 2003, about also psychologically traumatic. dogs and people’s relationships in the evolution of humans, D B is important—where species are not pitted against one an- Yes. Among David Cronenberg’s films, Crash relates to this in par- other, making it necessary to destroy in order to evolve, but ticular. And to how wounds turn into characters of their things can evolve in relationship to one another. If robots or own, how the body can be ruptured and penetrated in so AI start existing en masse in the human world and become many different ways. Male bodies become “female” bodies more “human,” then we will need to evolve together. via their wounds. I think it inverts the biological gender roles K N in some ways. Which goes back to the question of what we consider human. Does K N human mean a sentient being with its own unique thought I think a lot of Cronenberg’s movies address the relationship be- processes? In relationship to your recent work, the fact that tween the mind and body, and also conscious and uncon- you use props that have been created and used in films seems scious thought, which is played out by these openings in the to fetishize these things’ existence. Although you speak of body—as if the unconscious were seeping out, or penetrat- being an outsider to American culture, rather than a critique ing into the conscious. this seems like a kind of love, of wanting to own a part of D B this industry. Yes, parasites or things both entering your body or oozing out of D B your body. In his second movie Crimes of the Future, 1970— The movie memorabilia community does fetishize these objects. which is set in the future but actually looks like some Eastern They all have their own provenance, based on which charac- European socialist country—after a catastrophic plague re- ters used them in which scenes. The actor touching it is dig- sulting from cosmetic products has killed the entire popu- italized and will exist forever. All have the “two” copies— lation of sexually mature women, there is a world of only their “real” physical existence and their digital existence. men. The way they have sex is to cuddle, then this strange They have fictional histories of their own. We remember ectoplasm liquid comes out of different parts of their bodies, these scenes as if they exist, a kind of alternative reality, in like a foot or a nipple. our common hive mind. K N K N It sounds a little like lactating, like oozing breast milk, not necessar- Well, it is then part of human history or a form of collective con- ily sexual. sciousness. D B D B Somewhere between breast milk and semen, and other bodily flu- There is also some kind of sadness around these objects. Their re- ids. I was reading a book about viruses, A Planet of Viruses al-life being is never as perfect as their on-screen being. You (2011), which discusses how the word virus came to exist. can see chipped paint and their fakeness, or the way they have They were first called contagious living fluids, and after- a perfect front with unfinished back, filled in with expandable wards we inherited the word from the Roman Empire, foam. They are made to exist as a perfect image on screen. where it meant both the venom of a snake and the semen of K N a man. Which relates to the idea of the body of the film as That’s not very different from stage sets and theatre props. They a virus, thus both visually and in terms of narrative. Like exist as temporary images. a virus, it is “alive” in some ways, yet not completely. It D B replicates itself and gets spread quickly through space and When I work with them I try to reanimate them. people. In the same way viruses carry genes, films carry K N codes, information and meaning. K N Bring them back to life. D B Yes, and then the same constructs are reinterpreted and repeated. D B I think a lot of my work is about reanimation. K N They can mutate and change, and then imbed themselves in the The relationship between the body and consciousness, or physical body of the spectator, which becomes the host. This is and psychological feelings? something Cronenberg has spoken about. These ideas in- D B spired the works in my exhibition “The Architect’s Plan, His Yes. I make them actors in a new narrative. But they are still in be- Contagion, and Sensitive Corridors” (2015) at New Galerie. tween being alive and being dead. For example the series of I wanted the works to somehow infect the space and spread works “The Architect…,” 2014—which are these infested like a disease. K N electrical wall pieces—there is some kind of life about them, because they are familiar enough that they could be part of These works themselves look like infected bodies, all broken, a human body. Or the “breathing” chairs with Bruce Willis’ wounded or ruptured. You are clearly drawn to a form of prosthetics from the movie Surrogates (Mental Parasite abjection. Retreat 1 and 2, 2015). D B K N Everything was made more alive. The chairs “breathed” and you I was thinking about the rupture between the inside and the outside could hear this and see a slight pulsation. I like to create a in your work, and what it means in terms of a physical body tension between seduction and repulsion. K N and a psychological body, since you are dealing with broken, wounded bodies. Is the physical rupture also a metaphor for Yes, that is what I meant by abjection. The fascination of the horror. a psychological rupture or feeling of pain? D B D B I wanted to merge bodies with environment, or the architectures I often use prosthetics of scars or wounds that have been made for we live in. The objects we touch and inhabit become more movies. When they are applied to an actor’s skin they look like us and we become more like them. Also the relationship believable and become real. I am interested in bodies that between the body and the infrastructure of a building—the

Dora Budor NEW GALERIE June 2015 From Mousse magazine Interview

MOUSSE 49 58 D. BUDOR

level you could see that it was fake, or mask-like. But it looked almost real—which is fascinating to observe, it makes you be- lieve in it and distrust it at the same time. Plus she had this very old face on a very young body. It really changed her behavior and how I related to her, too. It was not really a character we created or performed, but something that was psychologically very different and affecting with each version. K N What made you want to think about the physicality of ageing? D B In some ways this whole body of work is about time. Which is a very general thing of course. But how do you track time? What are these moments of degradation or that mark it? K N It’s also a psychological construction of your consciousness that can change, without the system of markers we have in place. D B By tracking time using her body we changed feeling and behav- ior. But also—as Ted Pikul says in the film Existenz: “I am very worried about my body.” I am very worried about my body, too! K N So am I! In that I have a hypochondriac fear of it being out of my control. D B Yes. It’s not just being young. It’s also being capable of things. Whilst you are “healthy” you are not a burden to others. Particularly in American society with the current health system. K N Then it becomes an extremely political site. If you are not a capa-

Kata Doksa (detail), 2014. Courtesy: NoirmontArtProduction, Paris ble working body then you are a social problem. Which is a very frightening idea. But it also feels true in relation to recent decisions by the UK government regarding mental pipes and electrical systems that run through it to keep it and physical health and disability in terms of benefits and alive with water and heat. work. You become a social burden because you are deemed K N a financial burden. Architectures as living entities. D B D B Once you are 18 in America you move away from your parents. I We build our surroundings to host our bodies. I am making new grew up in a socialist country where my parents lived with sculptures for a solo exhibition at the Swiss Institute in their parents until they were 30, even though they were mar- New York that are a hybrid of arteries and veins with radi- ried. It was a little like being part of a tribe. In America it ators and heating infrastructure. I was thinking about how feels like survival of the fittest. energies travel through “bodies.” The sculptures are going K N to come out of the floor and walls. I was also thinking about In one sense, to be a good, successful citizen, you have to keep the living parts of a building. There is a kind of grime or “control” of your body. Achieving this control of ageing, dirt that I find very specific to New York. Which also ap- health and looks means that you will be more and achieve pears in the movies—there is always dirt in the subway, more, and therefore be “better.” A good robot. or grimy shots of Chinatown, with mold and other things D B growing and living on the infrastructure. Exactly. But can you imagine waking up as a 400-year-old? What K N would the world feel like? I think this kind of growth of dirt and bacteria conjures up the ab- K N jection of sci-fi or horror, where what is “natural” mutates Do you know the work of Aubrey de Grey? He is a biomedical ger- and becomes another being, or entity, that is uncontrollable. ontologist who came to do a talk with Cécile B. Evans and D B me. He believes that by solving the factors of mitochondri- Which I think relates back to Donna Haraway, because we need al aging using regenerative medicine, we could live to the to live alongside these things and work with them, not fight age of 1500 in the near future. The audience reaction was them. Sci-fi is also very Freudian. not related to the facts of the science. People were horrified K N by what life might be like, or feel like. Would you remem- Yes, completely, particularly in relationship to the hidden or un- ber your life? Would it have any meaning? The construct seen becoming seen or remembered—the uncanny—or the of meaning to us is divided up by time, and also by marker unconscious surfacing and becoming reality. What else are points of achievement in that time. you working on now? D B D B Would you become lazy and desensitized? As nothing would mat- I’m doing a series of photographs for which I hired five special ef- ter. Where is the urgency? K N fects artists to do old-age prosthetics and make-up on the same model. I asked them to create the oldest woman in the Decaying and dying is frightening. Death is my biggest fear, world. Their interpretation was very different. because I can’t fathom my consciousness never existing K N again. But the idea of going on forever is equally terrifying. I feel like there is a social pressure to be repelled by our decaying D B bodies. As if we were watching our own slow death. That is what hell is. Being human forever is suffering. D B When we went to shoot on the streets people really stared. On one

Dora Budor NEW GALERIE Issue 2 From Carla magazine Interview

DB: One of my favorite movies last Dora Budor year was Snowpiercer. It’s a Korean- Hollywood production of a feature

film by Joon-ho Bong, who made it Feature Interview after finding this French graphic novel called Le Transperceneige about the only survivors of frozen apocalypse on The stereotypical view of Hollywood is a scintillating a train that endlessly circles the globe. dystopia, where the produce is 100% organic and the It’s incredible because it has all the people are 100% plastic. Hollywood tropes, but it’s acted out Even though she visited Los Angeles for the in a super hysterical way, with very first time just this month (for a screening she curated exaggerated emotion—people are at Fahrenheit), Dora Budor’s works are a perfect laughing and screaming it’s like reflection on that Hollywood real/fake hybridity. She Kabuki theatre—it’s almost too much is interested in virtually every aspect of Hollywood: for the screen. But when this very its materials, ideological aspects, and how we react specific Asian treatment (influenced to them. Her carnal sculptures and installations are by history and theatre) protrudes anthropomorphic renderings of film props and pros- through the glossy Hollywood surface thetics, resembling something like physical CGI or it becomes really interesting. special effects transformed into a tactile reality, her work seems to have fallen out of a blockbuster movie. CJ: Funny you use the word “pro- Talking on the phone with Dora about Holly- trudes,” because in your work you wood—an industry, a phenomenon, and a place that often seem to perform dissections, inspires her practice—got me excited about things exposing all the layers that might lie I have previously been reviled by: Elysian, blood splat- beneath a surface or skin. ters, and decaying zombie flesh. DB: Recently I’ve been making new sculptures reusing screen-used Char Jansen: I’m in Chinatown in architectural miniatures from The Los Angeles, and you’re in China- Fifth Element, Batman Returns and town in New York City. It makes me Johnny Mnemonic. The miniatures think of that John Carpenter movie, are captivating, and strange. They are Big Trouble in Little China. all made to look aged, and document the passing of real time. The oldest Dora Budor: There is something about one is 20 years old, so it shows actual John Carpenter movies that really wear and tear. You can see that the drive me nuts. I think it’s the way he layers of what is supposed to be imposes ‘80s driving music onto every rooftop tiles are made out of pieces of single scene, and then whenever any- sandpaper that have come unglued. one starts talking he just lowers the All of them have been physically volume. It’s like there’s a radio playing weathered in different ways with this next to your head all the time… dystopian filter added onto them: they

CJ: Lol. I guess I was thinking about that peculiar exchange of Char Jansen is currently Elephant magazine's Ed- culture that happens between itor-at-Large, Senior Editor at ArtSlant, Art Editor Hollywood and Eastern film produc- at OffBlack magazine, and contributes regularly tion companies. to Dazed & Confused. Char is the director of NO WAY, an independent curatorial label founded in 2011 for which she has curated 15 exhibitions in London, Lisbon, Tel Aviv, Oslo, and Los Angeles.

Char Jansen Issue 1 Dora Budor NEW GALERIE Issue 2 From Carla magazine Interview

often represent our future environ- Prometheus, it contains an alien DNA ment as very derelict, because of too structure that can reanimate, or like much pollution, global warming, or in X-Files it’s “the black cancer” that some other catastrophe. invades another body. I read recently Today, with CGI, the first sculpt- that in Chinchorro, mummies that ing layer is always a pristine surface, have been preserved for 7,000 years and then layers of weathering and are starting to decompose into black dust are added on top. There’s an slime. Because of global warming, the interesting reference between reality bacteria buried in their mummified and fiction with this type of aging skin has come back to life. Once because in order to believe and con- understood as dead, biological and nect with the narrative, the cinematic ecological forces have suddenly environments have to have a history revived these ancient bodies in a as well as a present. They need to Frankensteinian way—a symbolic look as though they have been lived indication of the current moment. in, or touched by a human/alien hand. But in real life, when something that CJ: How do you manage to get so has aged too much, we have an urge deep behind the scenes of Hollywood? to replace it, or we want to repaint it, iron out the wrinkles. Or treat it DB: I’m a bit of a film nerd when it with botox. comes to production and “making-of” footage. I find breaking down CJ: You seem interested in drawing Hollywood visuals one of the most analogies between the human and beautiful things in the world. the nonhuman. Your current work But it’s almost more interesting up at Various Small Fires, as part to look at what the fans are obsessed of the exhibition The Slick and The with, what scene produces an Sticky, reveals the hidden electrical emotional effect or which character is infrastructures in the gallery particularly problematic for them. The building, turning the walls inside-out audience tells you how it works: what to expose this network of veins excites us, what emotions trigger us. carrying energy. Or, why do we want violence? What

DB: I’m interested in bringing objects to life, or to the point they start to Dora Budor (b. 1984 in Croatia) and lives and works resemble life—sort of like when you in New York. Recent exhibitions include solo see zombies reanimated and you presentations ‘Spring’ at Swiss Institute, New York and The Architect’s Plan, His Contagion and Sensi- think “oh they’re alive, but there is tive Corridors at New Galerie, Paris; group shows something really off about them.” The Slick and The Sticky at Various Small Fires LA, Many interesting characters in films Believe You Me with 247365 New York, Flat Neigh- bors at Rachel Uffner, New York; and institutional are created from parts of different group exhibitions such as Inhuman at Fridericia- bodies. I like partialized objects like num, Kassel, Germany and DIDING – An Interior that, different types of hybrids of us That Remains an Exterior? at Halle für Kunst & and our image. Medien (KM–) in Graz, Austria (2015). Recently she participated in panel discussions at Judd For my installation at Swiss Foundation, Art Basel Miami Salon, and Whitney Institute in New York I’m texturing Museum of American Art, and the writings on her the walls and floor with the black work have appeared in Art in America, Flash Art, goo that resembles the kind you’d Artforum, Modern Painters, Frieze and Mousse magazine. She is also a winner of the Rema Hort find in a sci-fi film, this type of black Emerging Art Award (2014) and is co-director of matter that can contain life—like in the project space Grand Century in New York.

Dora Budor Dora Budor NEW GALERIE Issue 2 From Carla magazine Interview

form do we enjoy most? Films with DB: I think Hollywood is absolutely super high box office ratings often amazing. It’s so democratic and so contain a theatrical kind of violence. undemocratic at the same time. It’s a American movies in the ‘70s and ‘80s playground for exploring all the ideas used to be about guns and knives, it in the world, almost without limits. Of was more realistic, but now there’s in- course it has this completely rotten in- credible versatility to it. The different frastructure and it is a money-making types of blood splatter you can get in machine, but what is being created in CGI are like a science all of their own. spite of this is incredible.

CJ: So has looking at the audience reactions to these mainstream movies affected how you make art, and for whom?

DB: I don’t make art for the gallery, or at least don’t perceive that to be the ultimate purpose of it. I’m making sculpture now, but that’s not to say I might not make a mainstream movie one day. What I find exhilarating about mainstream film is that it 1 becomes part of collective conscious- Dora Budor, The Architect's ness. Certain events, fictional or real, Plan, His Contagion, and Sensitive Corridors at New feel as though we’ve been through Galerie, Paris (2015), installa- them, and we re-experience them by tion view. Image courtesy of triggering the subconscious. That’s the artist and New Galerie. how I approach making art. 2 Our Children Will Have Yellow Eyes (2015), Screen-used CJ: You’d rather go to a movie than miniature living container to a gallery. from Johnny Mnemonic (1995), steel armature, epoxy clay, infected silicone prosthetics, DB: I don’t want it to sound like I’m acrylic polymer with pigment suspension, sfx and weathering dissing art, but I rarely find inspiration paint, assorted metal hardware. looking at art. Being involved in Image courtesy the artist and New Galerie, Paris in this thing that is so different makes collaboration with NOIR- my brain way more open. I guess MONTARTPRODUCTION. I tend to move more towards creating environments, an overall experience that is static, but can give a feeling like a movie does. I am always thinking about how I can make a movie with- out using moving image, to create a film without film.

CJ: Many people criticize Hollywood and the effect of “Hollywoodification” on culture.

Dora Budor NEW GALERIE April 2015 From Artforum Review

Dora Budor NEW GALERIE April 2015 From Frieze Review

Dora Budor NEW GALERIE From top:

Gianni Colombo Installation view at Galleria Monica De Cardenas, Zuoz (2015) Courtesy of the Artist and Galleria Monica De Cardenas, Zuoz

Dora Budor “The Architect’s Plan, His Contagion and Sensitive Corridors,” installation view at New Galerie, Paris (2015) Courtesy of the Artist and New Galerie, Paris

Carol Rama Opéra nº 18 (1939) Courtesy of Archive Carol Rama, Torino; and MACBA, Barcelona

reviews March/April, 2015 From Flash Art Gianni Colombo Dora Budor Carol Rama Monica De Cardenas / Zuoz New Galerie / Paris MACBA / Barcelona

Monica De Cardenas’s second gallery Indebted to a techno-gothic aesthetic with Special attention has been given lately to venue in the Swiss Engadin valley hosted roots in Mary Shelly’s Frankenstein and the nonagenarian character of Carol Rama, a modest but thoughtfully assembled David Cronenberg’s cinema, Dora Budor’s living alone in her flat in Turin, crammed with survey of the work of pioneering Italian first solo show at New Galerie explores a all sorts of objects and kept continuously in artist Gianni Colomboreviews (1937–93). Among post- and transhumanist corporeity. Since the dark by blackout curtains. But beyond the founders of Gruppo T — the Milanese early in her practice, the body and its this vision of the eccentric and rediscovered, “branch” of Kinetic and Programmatic materialization has been a central concern. the outsider or the romantic artist, the Art — Colombo’s international recognition Bodysurfing (2012), a black and white show at MACBA seeks to normalize Rama’s Gianni Colombo Dorahas grown in theBudor wake of pandemic Carolvideo that she directed Rama with Maja Cule, work in order to come to terms with it and enthusiasm for Spatialism and the early depicted four models rehearsing the basic include it in the art-historical canon — but Monica De Cardenas / Zuoz Newinterrogations Galerie of / the Paris relationship between MACBAgrammar of / fashion Barcelona poses inspired by a without trying to fit the artist into any humankind and technology. Indeed, the Hollister ad campaign. More recent projects specific historiographical art narrative. exhibition’s press release introduces the like New Lavoro (2013) and a series titled The exhibition is consistent with some artist’s research through the words of a “Action Painting” (2013) commented on of the main areas of research that the Monica De Cardenas’s second gallery Indebtedmajor living to a artist, techno-gothic Olafur Eliasson, aesthetic whose with Specialthe body’s attention role within has been the realms given latelyof social to museum has explored, especially over venue in the Swiss Engadin valley hosted rootswork incan Mary be saidShelly’s to have Frankenstein built upon and the thecompetition nonagenarian and action character movies, of Carol respectively. Rama, the past year: to give visibility to dissident a modest but thoughtfully assembled Davidlegacy Cronenberg’s of those phenomena: cinema, Dora “Today Budor’s the livingTitled alone “The in her Architect’s flat in Turin, Plan, crammed His with narratives and to work on the political body. survey of the work of pioneering Italian firstgreat solo importance show at New of [Colombo’s] Galerie explores work,” a allContagion sorts of objects and Sensitive and kept Corridors,” continuously this in The show features an overview of more than artist Gianni Colombo (1937–93). Among post-stated and Eliasson, transhumanist does not corporeity. lie so much Since in its theexhibition dark by is blackout a further curtains. development But beyond of her two hundred works from Rama’s different the founders of Gruppo T — the Milanese early“formal in her results” practice, as in the “its body consequences.” and its this“TimeToDie” vision of the (2014) eccentric series and in which rediscovered, she phases, presented in a sober and elegant “branch” of Kinetic and Programmatic materializationExperienced has in been the vaguely a central domestic concern. thereproduced outsider oron the acrylic romantic screens artist, the thebruises display. A brochure contains an extended Art — Colombo’s international recognition Bodysurfingenvironment (2012), of the gallerya black — and a 15th-century white showand injuries at MACBA appearing seeks toin thenormalize movies Rama’s Blade essay by one of the curators, queer theorist has grown in the wake of pandemic videomountain that shehouse directed exquisitely with Maja refurbished Cule, in workRunner in order and Elysium to come. She to terms has organized with it and the Paul Beatriz Preciado. In the center of the enthusiasm for Spatialism and the early depictedthe early four 2000s models — far rehearsing in space and the time basic from includegallery’s it spacein the aroundart-historical props, canon skin appliances — but exhibition, a small and dimly lighted room From top: interrogations of the relationship between grammarthe frenzied, of fashion entrepreneurial poses inspired backdrop by a of withoutand other trying memorabilia to fit the artist related into to any sci-fi has red-painted walls. It unveils Rama’s humankind and technology. Indeed, the Hollisterthe Italian ad economic campaign. boom More that recent favored projects their specificmovies. historiographical Translucent silicone art narrative.sheets gridded early and moreGianni intimate Colombo works such as the exhibition’s press release introduces the likecreation, New Lavoro Colombo’s (2013) perceptual and a series engines, titled by electricalThe exhibition switches, is consistent metal pipes with and some other Passionates, theInstallation Dorinas view and at Galleria the Parcae, Monica De Cardenas, Zuoz artist’s research through the words of a “Actioninterchangeable Painting” (2013)sculptures commented and force on fields ofhardware the main cover areas part of research of the walls, that suggesting the the acclaimed (2015)figurative Courtesy watercolors of the Artist that major living artist, Olafur Eliasson, whose thedisclose body’s an role unusual within melancholy, the realms of as social if they museuman architectural has explored, metastasis. especially Scars over from the were presentedand in Galleria 1945 Monicaand censored De for work can be said to have built upon the competitionwere “bachelor and machines”action movies, triggered respectively. by a themovie past 300: year: Rise to give of an visibility Empire ,to recreated dissident obscenity by theCardenas, Italian Zuoz government. They legacy of those phenomena: “Today the beliefTitled in a “The future Architect’s that never Plan, came. His In this narrativeson the skin-like and to surface work on of the these political structures, body. function as theDora core Budor of the exhibition. The great importance of [Colombo’s] work,” Contagionsense, the andmechanical Sensitive strain Corridors,” of the steelthis Theaccentuate show features this Promethean an overview dystopia. of more than contiguous rooms,“The Architect’s with the Plan, museum’s His stated Eliasson, does not lie so much in its exhibitionribbon in Strutturazioneis a further development Fluida (1960), of her twoCentral hundred to this works staging from are Rama’s two cinema different chairs modernist architectureContagion andat play,Sensitive seem to Corridors,” installation view at “formal results” as in “its consequences.”301 - Reviews.indd“TimeToDie”or the118 aurora (2014) borealis-like series lightin which effects she phases,in which presented red velvet in has a sober been replacedand elegant by break away fromNew her Galerie, elaborate Paris (2015) and explicit 26/02/15 13:13 Experienced in the vaguely domestic reproducedof the “Cromostrutture” on acrylic screens (1960s), the orbruises the display.dragon Askin brochure silicone. contains They are an animated extended by universe of sexuality.Courtesy Here of the Artistwe find and abstract environment of the gallery — a 15th-century andhypnotic injuries orbit appearing of Spazio in Curvothe movies (1990), Blade essaythe respiratory by one of tempothe curators, of the cyborgqueer theorist chest compositions andNew collagesGalerie, Paris such as The mountain house exquisitely refurbished in Runneramong andthe artist’sElysium latest. She works,has organized can’t help the Paulthat hasBeatriz been Preciado. embedded In the in theircenter backrest. of the Traps (1966), OmensCarol Rama of Birman (1970) or the early 2000s — far in space and time from gallery’sbut suggest space the around desolate props, relapse skin ofappliances Italian exhibition,Substituting a small a andcyberpunk dimly lighted aesthetic room for Arsenale (1970)Opéra made nº 18 with (1939) very specific the frenzied, entrepreneurial backdrop of andindustrialization; other memorabilia like the related lonely to women sci-fi hasthe red-painted“corporate Bruce walls. Weber”It unveils line Rama’s of research materials suchCourtesy as animal of Archive hair, Carolnails and Rama, Torino; and MACBA, the Italian economic boom that favored their movies.wandering Translucent the wastelands silicone around sheets factoriesgridded earlythat sheand previously more intimate pursued, works Budor’s such as the rubber. AnotherBarcelona room includes Rama’s creation, Colombo’s perceptual engines, byin electricalMichelangelo switches, Antonioni’s metal pipes films, andColombo’s other Passionatesexhibition oscillates, the Dorinas between and thePaul Parcae, Thek’s return to the figurative in the 1990s through interchangeable sculptures and force fields hardwareworks seem cover lost part in their of the own walls, mechanisms. suggesting theearly acclaimed fascination figurative with carnal watercolors excisions that and the portrait of the dissident, and again the disclose an unusual melancholy, as if they an architecturalStrutturazione metastasis. Pulsante Scars (1959), from the wereTetsumi presented Kudo’s post-Hiroshimain 1945 and censored terrariums. for animalistic body in series such as The Mad were “bachelor machines” triggered by a movieexhibited 300: in Rise the secondof an Empire room, recreatedof the obscenityIndeed, Mike by the Kelley’s Italian analogy government. between They Cow (1996–2000), Gossips (1997) and Gifts belief in a future that never came. In this onexhibition, the skin-like is a machinesurface of in these which structures, a functionKudo’s installations as the core andof the “movie exhibition. props The (2000). How should we read those works in sense, the mechanical strain of the steel accentuatepneumatic thispiston Promethean pulsates against dystopia. a contiguousfrom lurid science rooms, fictionwith the scenes” museum’s could order not to fall into normative categories? ribbon in Strutturazione Fluida (1960), Centralfoam surface. to this stagingMeaty and are animatedtwo cinema like chairs modernistbe perfectly architecture extended to at thisplay, exhibition. seem to Should we talk about rubber tires or see or the aurora borealis-like light effects ina livingwhich organism, red velvet thehas work been suggests replaced by breakBut unlike away those from artists,her elaborate Budor doesand explicit not flaccid penises? Rama’s work has always of the “Cromostrutture” (1960s), or the dragonthe heartbeat skin silicone. of a cyborg They are— one animated by universeembrace of a popsexuality. euphoria. Here The we onlyfind abstractthing worked against classification; perhaps hypnotic orbit of Spazio Curvo (1990), themore respiratory hint at Colombo’s tempo of sensorialthe cyborg chest compositionsthat remains from and collagesher prophecy such asis the The it should stay that way, as an exception among the artist’s latest works, can’t help thatunderstanding has been embedded of mechanized in their behavior. backrest. Trapswedding (1966), of a MechaOmens andof Birman a street (1970) sofa. or within the heterodox map of history. but suggest the desolate relapse of Italian Substituting a cyberpunk aesthetic for Arsenale (1970) made with very specific industrialization; like the lonely women theby Michele“corporate D’Aurizio Bruce Weber” line of research materialsby Charles such Teyssou as animal hair, nails and by Rosa Lleó Ortin wandering the wastelands around factories that she previously pursued, Budor’s rubber. Another room includes Rama’s in Michelangelo Antonioni’s films, Colombo’s exhibition oscillates between Paul Thek’s return to the figurative in the 1990s through works seem lost in their own mechanisms. early fascination with carnal excisions and the portrait119 of — the march dissident, / april and 2014 again the Strutturazione Pulsante (1959), Tetsumi Kudo’s post-Hiroshima terrariums. animalistic body in series such as The Mad Dora Budor exhibited in the second room of the Indeed, Mike Kelley’s analogy between Cow (1996–2000), Gossips (1997) and Gifts exhibition, is a machine in which a Kudo’s installations and “movie props (2000). How should we read those works in NEW GALERIE pneumatic piston pulsates against301 a- Reviews.indd 119from lurid science fiction scenes” could order not to fall into normative categories? 26/02/15 13:13 foam surface. Meaty and animated like be perfectly extended to this exhibition. Should we talk about rubber tires or see a living organism, the work suggests But unlike those artists, Budor does not flaccid penises? Rama’s work has always the heartbeat of a cyborg — one embrace a pop euphoria. The only thing worked against classification; perhaps more hint at Colombo’s sensorial that remains from her prophecy is the it should stay that way, as an exception understanding of mechanized behavior. wedding of a Mecha and a street sofa. within the heterodox map of history. by Michele D’Aurizio by Charles Teyssou by Rosa Lleó Ortin

119 — march / april 2014

301 - Reviews.indd 119 26/02/15 13:13

301 - Reviews.indd 118 26/02/15 13:13 February 2015 From Artforum.com Critic’s Picks

Dora Budor NEW GALERIE May 1, 2014 From artinamericamagazine.com

Corporate Aesthetics: Dora Budor by Matthew Shen Goodman

In conjunction with a special section in Art in America’s April issue (select articles available here, here and here), A.i.A. presents a series of Web interviews exploring the role of corporations in contemporary art, architecture and design.

In an update of those Beuysian/Warholian bromides of yesteryear—everyone being an artist or having 15 minutes of fame, or both—everyone today is a content creator. The average consumer now has in their hands and pockets DSLRs and smartphones able to take professional-seeming photo and videos; postproduction has become a populist pastime, courtesy of Final Cut and the mighty Adobe Photoshop; and circulation is easier than ever, requiring little more than access the distribution networks like YouTube or Instagram.

Of course, home productions, however polished, rarely match the scale of blockbusters from major film and media corporations, still a fount of fantastical world creations with their own research and development departments and budgets in the hundreds of millions. Hence the supremacy of ripping, copying and imitation in today’s world of content creators, both in the sense of piracy, and user-generated takes on the entertainment industry mainstream—song covers, movie parodies, shanzhai everything. So while content creators are everywhere, they’re mostly likely imitating or knocking off.

That tension between the democratization of cultural production and the ever more immersive (and pricey) spectacle of commercial entertainment lies at the heart of Dora Budor’s work. The artist, born in Croatia and now living and working in New York, first came to prominence as one half of Dora + Maja (2007-12), a collaborative project with Maja Cule. Keenly attuned to both the art and advertising worlds, the duo destroyed replicas of Chinese vases in a sleekly shot basketball game in Porcelain (2011), explored male modeling tropes as performed by aspiring semi-professionals in BodySurfing (2012), and created performance knockoffs of the ‘90s Jean-Claude Van Damme vehicle Knockoff.

As a solo artist, recent efforts have included 2014’s “Action Paintings,” a series of video works mimicking and deconstructing action movie choreography and cinematography, and the eclectic New Lavoro (2013); a project for the Palazzo Peckham at the 55th Venice Biennale that consisted of, among other things, a “mixtape/soundscape,” an onsite café and a slightly counterfeit- feeling reality show in which young artists in New York competed to win a free trip to the Biennale. As Budor herself described in an interview with DIS, New Lavoro-as-reality-show explored her interest in that liminal stage between amateur and professional, “when things are not completely there yet, [in terms of] intentions to succeed or aspirations to . . . achieve excellence in a desired (in this case creative) sector.”

Budor talked to A.i.A. at her Chinatown studio and over e-mail about “importing” Hong Kong directors, horror movie prosthetics and post-Fordist editing techniques.

MATTHEW SHEN GOODMAN Going back to your work with Maja Cule, I’m really struck by the “KnockOff” performances, which foreground numerous aspects of commercial filmmaking that are usually glossed over—shadow economies of bootlegs and rips, intensive physical labor, the actual technological apparatus used by corporate image production. It’d be great to hear about the series’s origins, given that it seems an early example of what’s become a touchstone for your work.

DORA BUDOR “KnockOff” is based on a 1998 action movie of the same name. It’s an incredibly unusual action movie, as it’s simultaneously a mash-up of different ideologies and cultures, a transformation of the language of violence into an escapist outlet, and a deep homage to cinema and its own replicating nature. Filmed in Hong Kong and starring Jean-Claude Van Damme, the movie’s directed by Tsui Hark, who was one of the first directors that Hollywood started “importing” shortly after the UK returned Hong Kong to China. Van Damme plays Marcus Ray, a naive sales representative of a knockoff factory that’s actually a cover-up for a Russian mafia/international terrorist operation inserting nano-bombs into products being exported from Asia to the U.S. From this initial setup the movie rapidly spins into a set of boldly composed action scenes. There’s a disembodied camera flying around the set, showing the world through an actor’s earring or from the point of view of a bullet bursting through a can of soup. Besides being an orgy of fighting, knock-off brands and an almost poetic cinematography, the film has this underlying sociopolitical narrative, where the terrorist operations amplify a culture of fear between the East and the West, using Eastern knockoff products to literally convey threat to Western structures.

For “KnockOff,” we used the movie as an initial script for a hybrid performance and video work casting local mixed martial arts fighters in the production of its live “re-making.” Choreographed fight scenes Dora Budor were performed in front of a green screen, digitally composited into new scenery and projected in real NEW GALERIE May 1, 2014 From artinamericamagazine.com

time, allowing the audience to see the same story from different perspectives. The work, which had iterations in Berlin, Zagreb and Bergen, takes its production mode from the phenomena known as a “mockbuster.” A B-movie of often foreign origin, the “mockbuster” is a derivative copy that reproduces elements of the genre, script and techniques of blockbuster movie on a significantly smaller budget. The cast was taken from underground fight clubs and were passionate but not professionally trained. It’s more interesting casting amateurs than professional actors, because they bring a more subjective interpretation to the piece.

During the rehearsals we worked with choreographer and stuntwoman Helga Wretman to shape the fighters’ “subjective remakes” into a series of highly controlled movements that looked as if they were being controlled by a remote control. The choreography ranged from gentle scenes of finely tuned, tai chi-like movements, as if in slow motion, all the way to more explicit full-force fights with exaggerated illustrative movements, as frequently seen in TV commercials. Each following group would get the previous performance as an initial input, so each consecutive performance one would become a copy and a sequel of the previous one.

SHEN GOODMAN “KnockOff” has a knowing, slightly bootleg quality also seen in later works like BodySurfing (2012) that I’d almost describe as “willfully prosumer”: not so much blatantly amateurish as slightly off-kilter. It fits really well in an age where everyone’s very media-savvy, both in terms of understanding how images get produced and how to produce images themselves.

BUDOR With the rise of YouTube and the online distribution of film, there are two really interesting anomalies occurring: digital ripping and bootlegging (as in Hito Steyerl’s “Poor Image”) and the culture of remake, both of which this project pulled inspiration from. There’s something awkwardly miraculous and wonderful when users produce lo-fi remakes of their favorite pieces. Nowadays, as user-friendly software for image manipulation, high-end cameras and other production materials and equipment are available to a wide range of users, we all contribute in the power structures of content creation. I think it’s interesting to create an alternative to existing models-for example, working with non-actors in “KnockOff” or casting aspiring male models in BodySurfing. I’m curious about the new subjectivity enabled by re-performing cinema, injecting mainstream image creation with individual imperfections that expose the tactics of its production.

Working with those modes of content production and image making also means locating the power structures operating behind the entertainment industry. In the same way that the older Hollywood continuity editing system was a mirror to the Fordist mode of production, today’s editing methods and digital media postproduction mirror the information technology infrastructure of contemporary neoliberal society. I’m also fascinated with what Steven Shaviro located in mainstream blockbusters as “blocs of affect.” Movies are simultaneously symptomatic and productive of complex social processes, meaning they both reflect and actively constitute them. This includes not only monetary capital, but emotional capital as well. We could see those processes as formative forces, working copies and critiques, living alternatives, experiments in possible futures and embodiments of our deepest human fears and desires. Hollywood to me is a big laboratory, where ideas can be tested out with insane budgets and master skills, all the while formulating possible existences for the outside world.

SHEN GOODMAN How has that played out in your more recent solo work? You said that you’ve been working a lot with prosthetics and movie props.

BUDOR Once a movie’s production is done, it leaves this physical detritus—props, skin appliances, theatrical sets, storyboards— which carry the history and cultural significance of the film and become collectibles for memorabilia fans and film collectors. Identified by screen-matching (being able to recognize the piece in a specific scene) and Certificates of Authenticity (COAs) issued from film studios, the objects are valued according to their uniqueness, the craft of their production and how they were used in the film—by the main character in the foreground (called Hero props), or as screen-used stunt and background props, or finally as prototypes and production-made multiples. There’s a specific aura that’s similar to the valorization of art objects. I use those elements as raw materials, purchasing them from movie auctions and incorporating them in my work.

I’m interested in the technical processes behind the visual effects like prosthetics or make-up that are used to simulate bodily sensations or to transfer ethereal instances of emotion onto the screen. My Dora Budor recent body of work utilizes special effects materials that are commonly employed in the representation NEW GALERIE May 1, 2014 From artinamericamagazine.com

of pain or injury upon the screen. I worked with a special effects studio to reverse engineer the bruises that appear on characters in Blade Runner and Elysium, then placed them inside of transparent screens which exposed the “bone structure” of the television mounting systems behind them. Other pieces in the series feature multiples of skin prosthetics leftover from gory scenes in various horror movies. When extracted from that context they become beautiful and fragile abstractions of pain which expose the physicality of their cinematic illusion. These screen works each have view control filters (optical louver films) that cause them to change in appearance as the viewer walks around them in a physical space. Some “fade out” to black, others create a motion blur or chromatic aberration—all accomplished through analog optical techniques. In effect, the position of the viewer’s body in space plays or rewinds a digitalistic film transition to the work. I am hoping to integrate new advancements coming from 7D cinema and gaming—including haptic sound, motion control, tactile qualities/vibrations and olfactory elements—in order to further merge the viewer’s body with the piece.

An interesting thing about the bodies and effects active in cinematic space today is that as filmmaking has shifted from analog to digital over the last 20 years, production no longer takes place only on the surface of the image but also under its digital skin. As we understand the body as a product of encoded genetic information, we begin to understand images as digital files—mosaic arrangements (pixels) extrapolated from binary code. What has been happening in biotech and genetic engineering is then in some way parallel to the changes that digital postproduction brought to film—it’s not only that the surface of film is being affected, but that its DNA is being restructured through digital manipulation, CGI, motion capture performances and software- assisted effects. Postproduction extends before and after on a timeline, actually blurring the time of actual production—similar to the shift in post-Fordist societies from a specified time of production to flexible working hours and freelance lifestyles blurring the lines of work and leisure, as we actually work all the time now without even noticing it.

SHEN GOODMAN Labor and entertainment are also at the heart of your “Action Paintings” series (2014), right?

BUDOR For the “Action Paintings,” I hired Helga again, this time to act as my stunt and body double in a series of three videos that produced indexical prop paintings. Each of the videos resembles the choreography and scenery of a blockbuster film— specifically The Hunger Games, Mission Impossible and The Bourne Supremacy—as does their respective color treatment and editing. Throughout the videos, the stunt double and the main actor switch roles and bodies, constantly alternating between main actor and extra. In the videos Helga performs her “job”: action stunts such as falling down the hill, being hit by a car or being chased through forest, in abstracted takes on action-genre scenarios that constantly oscillate between immersing you in the situation and pulling you out. Scenes are being repeated ad nauseam, forcing viewers to think about scene construction and simulation. Helga carries a “blank” object—a newly stretched canvas—in each movie that could be a shield, weapon or stolen good. It’s inevitably marked by her activities, indexically documenting all her falls, cuts and other destructive actions. In the physical installment the prop canvases are sculpturally attached to screens, turning them to screen surfaces which become at the same time documents of their creation, or “making-of” videos. SHEN GOODMAN That making-of aspect is really appealing. It’s funny, because in the art world people are often oohing and aahing over a secondhand spectacle aping contemporary production values as developed by these massive tech and entertainment corporations-be it a particular facility with Photoshop (that might never approach the level of someone like Pascal Dangin), or Jordan Wolfson’s recent animatronic piece at Zwirner, which seems to speak much more of the skills of Spectral Motion, the special effects and animatronics laboratory that produced it, than the artist’s. It seems that, at least on the level of the sensory and the spectacle, art is somewhat behind the corporate model of aesthetics, if only because artists don’t quite have the money to pull some sort of James Cameron-esque maneuver. BUDOR Artists are double agents, having a need to partake in the economy but also feeling aversion to it taking control. Most commonly the level of skill becomes the actual source of power, because if we want to take part in these economies or criticize them, production techniques become the language that we use to create meaning, and to actualize our distorted forms of dominant visual media. For me, it becomes compelling to produce works that aren’t “about” something, but rather that are things, which transparently employ the actual apparatus behind the spectacle. For me it is more interesting looking at those things at their source, where they grow and belong, and when using them in artwork being aware of complex politics and the meanings they transverse. To be quite sincere about it, I find it almost equally intriguing, if not more so, going to cinema and watching Catching Fire with other people than going to see a show at a museum. Such movies are part of our contemporary digital, post-cinematic “media ecology,” where they are dispersed as digital codes, constantly modulated and simulated, branding our most “inner” experiences. We can’t look at them simply as signs nor images any more, as they are no longer representational singular instances, but clusters of relations. They are not something “outside” of us, they become us, and if you don’t “remember who the real enemy is,” to Dora Budor quote The Hunger Games, it is difficult to position yourself towards it. NEW GALERIE March, 2014 From sfaqonline.com

SFAQ Review: Dora Budor’s “Action Paintings” at 247365, Brooklyn, New York By Courtney Malick

Croatian artist Dora Budor’s most recent solo exhibition “Action Paintings” took the form of a three-channel video installation that also included three monitor-sized canvases and an elaborate floor piece made of “dirt makeup.” Budor’s three videos each subtly take on the combinational emotional tone, blocking, and energy of some of the most internationally popular action movies: “The Hunger Games,” “The Matrix,” “Mission Impossible,” and “The Bourne Supremacy.” While the mood of each video relates to these films, the role of the protagonist is played by professional German stunt double Helga Wretman in all three of Budor’s videos. These basic qualities of tone, movement, and narrative tension become distinctive to each video as they have been specifically “scripted” by Budor, who gave a different treatment to the film crew and individualized scripts that focused on emotion and facial expressions; for Wretman, a kind of acting she rarely employs as a body double. By utilizing the singular painting as a substitutive object in her video narratives, through “Action Paintings” Budor has at least termporarily remedied the oft-confronted impasse of many video artists with regard to editions and the medium’s endless multiplicity, while at the same time dissecting and magnifying some of America’s most common action movie tropes.

The implications of doubling continue to permeate through “Action Paintings” as Budor, whose blonde hair, height, and body build closely matches Wretman’s, also appears in the videos at certain points during high-tension chase scenes in which distinctions between the “good guy,” or in this case woman, and bad woman, become blurred. Even in Budor’s installation an inescapable duality is reinforced, as each monitor is connected by its frame and hinges to a tarnished and beat up white canvas, which, during filming, was used by Wretman as yet another stand-in for various shields, weapons, and gear used to protect oneself and engage in physical battle.

By attaching the corresponding canvases to each video (a clear, metaphoric superimposition), the videos become dependent upon the paintings’ singular physicality, somewhat ironically rendering both the videos and the entire installation impossible to remake or duplicate. Each video, complete with a generic, suspense-driven original score that loops and loops, conjures the sensation of waking up to the DVD menu playing the same excerpt of a theme song on repeat. Through this looping effect, viewers watch the fearless Wretman, the illusive Budor in the background, and the canvases as proxy–now imbued with the precious status of paintings withinin the white cube–courageously journey through forests, shadowy abandoned parking lots, and other stereotypical settings for “high voltage ACTION.” During these battles, conquests and defeats we see each canvas endure a new scar as they are torched, slashed, ripped and bent, all of which is then present within the work in front of us. Here, the symbiotic, inherent relationship between video and canvas becomes seamless.

Budor’s transformation of the gallery floor gels these three video-paintings into one complete installation that cannot be broken up into individual works. Under sheets of clear plastic is a layer of brown, caked material that appears to be simply a sampling of dirt, but is in fact a special kind of makeup made to look like dirt or soot that is used on movie sets. Budor combined two hues of this makeup and applied it liberally to the gallery floor. Then, sealing it over with plastic, she created a new, flat surface that mimics the façade of the face of the actor.

Altogether, the three videos, three paintings, and the applied flooring combine to produce a strange effect that is both familiar and yet vastly eschewed from our normal experience of movie watching. In this way, Budor highlights aspects of such box-office shattering, blockbuster films that get utilized over and over again in order to produce sensationalized effects that over time become dulled like a pleasure center in the brain that gets overwrought with stimulants and malfunctions. The “Action Paintings” videos, in their striking similarity, begin to reveal an unspoken language within which audiences can identify the kinds of default dichotomies that most often structure such movies. This repetition creates cues for viewers’ standard emotional highs and lows through such binaries as heroes and villains, danger and complacency, Dora Budor victory and doom. NEW GALERIE