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View of “Dóra Maurer,” 2015. Foreground: Four From Three, 1976. Background: Inter-Images 1–3, 1980–90. Photo: Ondřej Polak.

Dóra Maurer

hunt kastner

View of “Dóra Maurer,” 2015. Foreground: Four From Three, 1976. Background: Inter-Images 1–3, 1980–90. Photo: Ondřej Polak.

I first encountered Dóra Maurer’s films at a 2012 symposium on aspects of Central European art at the Sächsische Akademie der Künste in Dresden, and I still have a vivid recollection of watching them as though in thrall; their power drew me in. Starting in the 1970s, the artist, who was born in Budapest in 1937 and still lives in the Hungarian capital, undertook a searching examination of change through experimental films, photographs, paintings, collages, and drawings. How can an image embody change? Any change implies movement, so one can always analyze it, break it down into component images, as Eadweard Muybridge did. Yet change is always more than merely the sum of still frames.

For an example of the precision with which Maurer addressed these questions, consider the early photographic series “Reversible & Changeable Phases of Movement,” 1972–75. It shows actions decomposed

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