new-york

Alex Dodge

Klaus von Nichtssagend Gallery

Like the freshly severed head of Ash, the treacherous corporate android in Ridley Scott’s Alien (1979), the disembodied silicon-rubber face that forms part of Alex Dodge’s sculpture Study for Intelligent Design (all works 2008) looks ready to open its eyes and spill its guts. Surrounded by shredded documents and wreathed in Christmas lights, the ghoulishly lifelike visage (a self-portrait) suggests the aftermath of a grisly murder, until we notice the bundled wires protruding from its underside. The robotic simulation is, however, deliberately imperfect; woven into its artificial viscera is an incongruous mixture of parts spanning the past half-century of technological history; typewriter components, for example, vie for space with fiber-optic filaments.

Accompanied by grubby casts of a leg, a foot, two hands, and an ear—all stuffed with an unnatural blend of, among other things,

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