Images Courtesy of Dora Budor
The preserving machine
The preserving machine
Dora Budor creates installations, environments, and sculptures, that recall moments of cinematic experience via their atmospheric scenographies. She explores histories of cinema and architecture, in order to merge concepts of reality and fiction in new ecosystems. Her works often contain used movie props, special effects, and historical remnants of utopian architecture. Budor places the history of the found object into a new narrative, evoking an uncanny form of memory and emotional connection in the viewer.
Budor’s installation, “The Preserving Machine” (2018), commissioned by Baltic Triennial 13, borrows its title from Philip K Dick’s classic science fiction short story “The Preserving Machine” (1953), the interior of the Contemporary Art Centre (CAC), became both a viewing and preserving mechanism for the inaccessible open courtyard situated in the core of the gallery. A layer of film dust, made out of diatomaceous earth, is dispersed throughout the courtyard; a ‘Midas touch’ in reverse, it contaminates, instantly ageing and provoking a perceived redundancy of any object covered. Seen through the reddish-orange color cast by the filters placed on the architecture’s windows, the courtyard became a ruinous landscape of the past. (Dimitris Lempesis, Dora Budor: I am Gong, Art preview, 2019). This is Dora’s first solo exhibition in Canada.
Dora Budor (b. 1984) is a Croatian artist who lives and works in New York. In her practice, she investigates the zones of infection between reality and cinematic fictions, extracting production-made objects from film ecologies, reanimating them, and incorporating them into new transitive systems. Her work has been in group exhibitions including Le Rêve des formes, Palais de Tokyo (Paris, 2017); Dreamlands – Immersive Cinema and Art, 1905–2016, Whitney Museum of American Art (New York, 2016); Streams of Warm Impermanence, David Roberts Art Foundation (London, 2016); the 9th Berlin Biennial (2016); and Inhuman, Museum Fridericianum (Kassel, 2015). Her selected solo exhibitions include Ephemerol at Ramiken Crucible (New York, 2016) and Spring at the Swiss Institute (New York, 2015). New commissions in 2017 include Frieze Projects and an open-air exhibition on the High Line in New York. She received the 2014 Rema Hort Mann Foundation Emerging Art Grant. She is represented by New Galerie (Paris).
This project is supported by Partners in Art.