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View of “Dora Budor,” 2015. From left: The Host, or You, 2014; Mental Parasite Retreat 1, 2014; The Architect, Slowly Crawling, 2014.

Dora Budor

New Galerie

View of “Dora Budor,” 2015. From left: The Host, or You, 2014; Mental Parasite Retreat 1, 2014; The Architect, Slowly Crawling, 2014.

Creepy as a scene from a sci-fi blockbuster, Dora Budor’s exhibition “The Architect’s Plan, His Contagion and Sensitive Corridors” invaded the gallery with swaths of synthetic skin, severed cyborg prostheses, and images of smoldering, wreckage-filled landscapes. In fact, it’s all “screen-used” stuff you might have seen at the movies. Budor reclaims the materiality of silicone scars, cyborg body parts, and other substances specifically designed for digital capture, manipulation, and consumption. Removed from their original contexts, these artifacts of imaginary worlds appear significantly less convincing than they do at the multiplex, but no less menacing. The threat she describes is neither space invaders nor robot time-travelers, but the disintegrating boundary between the virtual and the actual. In doing so, she reconfigures what feels real in a culture increasingly obsessed

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