Dora Budor

Born 1984, Zagreb, Croatia

Lives and works in New York

Adaptation of an Instrument
2016

Steel, plywood, perforated aluminum, acrylic sheets, vinyl welding screen, vinyl- and urethane-coated laminate flooring, vinyl strip doors with mounting hardware, LEDs, motion-sensitive computer system, hardware, polyurethane foam inserts, hot-rolled steel panels with patina, protective wax, urethane resin, dye, amphibian props used in the film Magnolia (1999)

Installation view at “Dreamlands: Immersive Cinema and Art, 1905–2016”, Whitney Museum of American Art, New York

Collection of the artist; courtesy New Galerie, Paris

Produced with support from Pomeranz Collection, Vienna

Architectural Design and Fabrication: MUECKE, INC.
Structural Steel Design: A Degree of Freedom
Interaction Design, Lighting Design, and Animation Design: Dave & Gabe

Dora Budor’s immersive environment continuously reacts to our presence: light pulses up and down the walls according to the level of activity within, in motions modeled after the neurological pathways in a human body. The presence of visitors brings Budor’s “instrument” to life, reanimating the image on its ceiling through a conduction of impulses, as though triggering a memory.

That memory here is the amphibian rain scene of the Hollywood film Magnolia (1999). By incorporating thousands of special-effect prop frogs used in the film, the luminous ceiling of the work serves to deconstruct the film into its constitutive elements: physical objects and light. Budor looks at films as ecological systems, weaving together remnants and memories of cinematic history with dynamic physiological responses. Adaptation of an Instrument is an evolving organism, rethinking the nature of the cinematic object and imagining a future condition in which biological and technological entities become interdependent.

Adaptation of an Instrument
2016

Steel, plywood, perforated aluminum, acrylic sheets, vinyl welding screen, vinyl- and urethane-coated laminate flooring, vinyl strip doors with mounting hardware, LEDs, motion-sensitive computer system, hardware, polyurethane foam inserts, hot-rolled steel panels with patina, protective wax, urethane resin, dye, amphibian props used in the film Magnolia (1999)

Installation view at “Dreamlands: Immersive Cinema and Art, 1905–2016”, Whitney Museum of American Art, New York

Adaptation of an Instrument
2016

Steel, plywood, perforated aluminum, acrylic sheets, vinyl welding screen, vinyl- and urethane-coated laminate flooring, vinyl strip doors with mounting hardware, LEDs, motion-sensitive computer system, hardware, polyurethane foam inserts, hot-rolled steel panels with patina, protective wax, urethane resin, dye, amphibian props used in the film Magnolia (1999)

Installation view at “Dreamlands: Immersive Cinema and Art, 1905–2016”, Whitney Museum of American Art, New York

Adaptation of an Instrument
2016

Steel, plywood, perforated aluminum, acrylic sheets, vinyl welding screen, vinyl- and urethane-coated laminate flooring, vinyl strip doors with mounting hardware, LEDs, motion-sensitive computer system, hardware, polyurethane foam inserts, hot-rolled steel panels with patina, protective wax, urethane resin, dye, amphibian props used in the film Magnolia (1999)

Installation view at “Dreamlands: Immersive Cinema and Art, 1905–2016”, Whitney Museum of American Art, New York

Adaptation of an Instrument
2016

Steel, plywood, perforated aluminum, acrylic sheets, vinyl welding screen, vinyl- and urethane-coated laminate flooring, vinyl strip doors with mounting hardware, LEDs, motion-sensitive computer system, hardware, polyurethane foam inserts, hot-rolled steel panels with patina, protective wax, urethane resin, dye, amphibian props used in the film Magnolia (1999)

Installation view at “Dreamlands: Immersive Cinema and Art, 1905–2016”, Whitney Museum of American Art, New York

Adaptation of an Instrument
2016

Steel, plywood, perforated aluminum, acrylic sheets, vinyl welding screen, vinyl- and urethane-coated laminate flooring, vinyl strip doors with mounting hardware, LEDs, motion-sensitive computer system, hardware, polyurethane foam inserts, hot-rolled steel panels with patina, protective wax, urethane resin, dye, amphibian props used in the film Magnolia (1999)

Installation view at “Dreamlands: Immersive Cinema and Art, 1905–2016”, Whitney Museum of American Art, New York

Video documentation

Adaptation of an Instrument
2016

Steel, plywood, perforated aluminum, acrylic sheets, vinyl welding screen, vinyl- and urethane-coated laminate flooring, vinyl strip doors with mounting hardware, LEDs, motion-sensitive computer system, hardware, polyurethane foam inserts, hot-rolled steel panels with patina, protective wax, urethane resin, dye, amphibian props used in the film Magnolia (1999)

Installation view at “Dreamlands: Immersive Cinema and Art, 1905–2016”, Whitney Museum of American Art, New York

Video documentation

Adaptation of an Instrument
2016

Steel, plywood, perforated aluminum, acrylic sheets, vinyl welding screen, vinyl- and urethane-coated laminate flooring, vinyl strip doors with mounting hardware, LEDs, motion-sensitive computer system, hardware, polyurethane foam inserts, hot-rolled steel panels with patina, protective wax, urethane resin, dye, amphibian props used in the film Magnolia (1999)

Installation view at “Dreamlands: Immersive Cinema and Art, 1905–2016”, Whitney Museum of American Art, New York

Video documentation

Ephemerol
2016

We see you so often these days. How nice is it to find a patient who regards his status seriously. What status? His status as a patient. People tend to forget they are patients. Once they leave the doctor’s office or the hospital, they simply put it out of their minds. But you are all permanent patients, like it or not. I am the Doctor, you are the Patient. Doctor doesn’t cease being a doctor at close of day. Neither should patient.

Epoxy resin (containing Bisphenol A), fiberglass, powder coated steel and aluminum, FX rust, plywood, enamel, plexiglas, expandable soft foam, polymer paint, metal hardware

182 x 83 x 90 inches

 

Installation view, Ramiken Crucible, New York

Ephemerol
2016

Installation view, Ramiken Crucible, New York

Ephemerol
2016

Installation view, Ramiken Crucible, New York

Ephemerol
2016

Detail view, Ramiken Crucible, New York

Ephemerol
2016

Installation view, Ramiken Crucible, New York

Ephemerol
2016

Detail view, Ramiken Crucible, New York

Ephemerol
2016

Installation view, Ramiken Crucible, New York

Spring
2015

Installation view, Swiss Institute, New York

Spring
2015

Installation view, Swiss Institute, New York

ONE MILLION YEARS OF FEELING NOTHING
2015

Screen-used miniature living garages from “The Fifth Element” (1997), steel armature, epoxy clay, diseased latex prosthetics, acrylic polymer with pigment suspension, sfx and weathering paint, assorted metal hardware

59 cm x 116 cm x 32 cm

WHAT KIND OF A PERSON DOES THIS
2015

Screen-used miniature living container from “Johnny Mnemonic” (1995), steel armature, epoxy clay, infect- ed silicone prosthetics, acrylic polymer with pigment suspension, sfx and weathering paint, assorted metal hardware

116 cm x 96 cm x 54 cm

WHAT KIND OF A PERSON DOES THIS
2015

Screen-used miniature living container from “Johnny Mnemonic” (1995), steel armature, epoxy clay, infect- ed silicone prosthetics, acrylic polymer with pigment suspension, sfx and weathering paint, assorted metal hardware

116 cm x 96 cm x 54 cm

OUR CHILDREN WILL HAVE YELLOW EYES
2015

Screen-used miniature living container from “Johnny Mnemonic” (1995), steel armature, epoxy clay, infect- ed silicone prosthetics, acrylic polymer with pigment suspension, sfx and weathering paint, assorted metal hardware

106 cm x 220 cm x 63 cm

SLOW TICKING OF THE CALLOUS MIND
2015

Screen-used miniature rooftop from “Batman Returns” (1992), steel armature, epoxy clay, diseased latex

prosthetics, acrylic polymer with pigment suspension, sfx and weathering paint, assorted metal hardware

100 cm x 118 cm x 82 cm

An Actor Is What An Actor Does
2016

Laboratory glassware, cast silicone tubing, surgical latex tubing, acrylic and metal attachments, polystyrene foam, aqua resin, fiberglass strand, rocks, soil, sand, cement, acrylic polymer with pigment suspension, aluminum armature, latex screen-used zombie prosthetic skin from ‘Underworld: Evolution’ (2006), stained walnut frame
53.5 x 40.5 x 4 inches / 134,5 x 102,9 x 10 cm
Unique

What Does AThing Know Of Its Own Production
2016

Laboratory glassware, cast silicone tubing, surgical latex tubing, acrylic and metal attachments, polystyrene foam, aqua resin, fiberglass strand, rocks, soil, sand, cement, acrylic polymer with pigment suspension, aluminum armature, latex screen-used zombie prosthetic skin from‘Underworld: Evolution’(2006), stained walnut frame
53.5 x 40.5 x 4 inches / 134,5 x 102,9 x 10 cm
Unique

Where is your office? What do you do exactly?
You know things, I think this is what you do.
I think you acquire information and turn it into something awful.
2015

Axis Chemicals model miniature tower screen-used in “Batman” (1989) and “Guest House Paradiso” (1999) (after Anton Furst’s production design: formed styrene with a wood base, sfx paint, model architectural elements and working lights), prop rubber red vines from “War of the Worlds” (2005), prop foam rocks and silicone umbilical cords from “Falling Skies” (2001), toxic soil from excavation site and underground New York sewer, steel and wood armature, polystyrene foam, aquaresin, detritus from New York construction site, paint watered down with emulsion of Tylenol, birth-control pills and caffeine, metal hardware

Dimensions 275 x 29 x 29cm

 

Installation view, group show  ‘National Gallery II: Empire’, Chewday’s, London, 2015

Where is your office? What do you do exactly?
You know things, I think this is what you do.
I think you acquire information and turn it into something awful.
2015

Axis Chemicals model miniature tower screen-used in “Batman” (1989) and “Guest House Paradiso” (1999) (after Anton Furst’s production design: formed styrene with a wood base, sfx paint, model architectural elements and working lights), prop rubber red vines from “War of the Worlds” (2005), prop foam rocks and silicone umbilical cords from “Falling Skies” (2001), toxic soil from excavation site and underground New York sewer, steel and wood armature, polystyrene foam, aquaresin, detritus from New York construction site, paint watered down with emulsion of Tylenol, birth-control pills and caffeine, metal hardware

Dimensions 275 x 29 x 29cm

Installation view, group show  ‘National Gallery II: Empire’, Chewday’s, London, 2015

Where is your office? What do you do exactly?
You know things, I think this is what you do.
I think you acquire information and turn it into something awful.
2015

Axis Chemicals model miniature tower screen-used in “Batman” (1989) and “Guest House Paradiso” (1999) (after Anton Furst’s production design: formed styrene with a wood base, sfx paint, model architectural elements and working lights), prop rubber red vines from “War of the Worlds” (2005), prop foam rocks and silicone umbilical cords from “Falling Skies” (2001), toxic soil from excavation site and underground New York sewer, steel and wood armature, polystyrene foam, aquaresin, detritus from New York construction site, paint watered down with emulsion of Tylenol, birth-control pills and caffeine, metal hardware

Dimensions 275 x 29 x 29cm

Installation view, group show  ‘National Gallery II: Empire’, Chewday’s, London, 2015

If You Find This World Bad, You Should See Some of the Others
2015

Screen-used miniature rooftop from “Batman Returns” (1992), steel armature, epoxy clay, infected silicone prosthetics , acrylic polymer with pigment suspension, sfx and weathering paint, bronze pipes with patina, assorted metal hardware

dimensions: 121 x 219 x 85 cm

Installation view, group show ‘1000 Islands’, Simon Lee Hong Kong, 2015

If You Find This World Bad, You Should See Some of the Others
2015

Screen-used miniature rooftop from “Batman Returns” (1992), steel armature, epoxy clay, infected silicone prosthetics , acrylic polymer with pigment suspension, sfx and weathering paint, bronze pipes with patina, assorted metal hardware

dimensions: 121 x 219 x 85 cm

Installation view, group show ‘1000 Islands’, Simon Lee Hong Kong, 2015

If You Find This World Bad, You Should See Some of the Others
2015

Screen-used miniature rooftop from “Batman Returns” (1992), steel armature, epoxy clay, infected silicone prosthetics , acrylic polymer with pigment suspension, sfx and weathering paint, bronze pipes with patina, assorted metal hardware

dimensions: 121 x 219 x 85 cm

Installation view, group show ‘1000 Islands’, Simon Lee Hong Kong, 2015

One Million and One Years of Feeling Nothing
2015

Screen-used miniature living garages from “The Fifth Element” (1997), steel armature, epoxy

clay, diseased latex prosthetics, acrylic polymer with pigment suspension, sfx and weathering

paint, assorted metal hardware

109 x 61 x 30.5 cm 

Installation view, group show ‘Body Buildung’, Max Mayer, Dusseldorf, DE

When the Sick Rule the World
2015

Archival inkjet print in custom artist lamb and faux leather frame

(photography in collaboration with Robert Kulisek)

Conference of Psychotic Women
2015

Archival inkjet print in custom artist lamb and faux leather frame

(photography in collaboration with Robert Kulisek)

Allergic to the 20th Century
2015

Archival inkjet print in custom artist lamb and faux leather frame

(photography in collaboration with Robert Kulisek)

Inhuman
2015

Installation view, Curated by Susanne Pfeffer, Fridericianum, Kassel

The Architect, Mind Falls Apart
2014

Production-made SFX transfer scars from movie '300: Rise of an Empire', silicone sheet, silicone cast wiring, electrical fittings, electrical fuse boxes, stainless steel, assorted metal hardware

from "Inhuman", curated by Susanne Pfeffer, Fridericianum, Kassel, 2015

The Architect's Plan, His Contagion and Sensitive Corridors
2015

Installation view, New Galerie, Paris, FR

The ArchiTecT, infecTed AT The Bone
2014

Production-made SFX transfer scars from movie '300: Rise of The Empire', handmade silicone sheet, electrical fuse boxes, stainless steel pipes and frames, silicone cast wiring, assorted metal hardware

The ArchiTecT, loss AT The surfAce
2014

Production-made SFX transfer scars from movie ‘300: Rise of The Empire’, handmade silicone sheet, electrical fuse boxes, stainless steel pipes and frames, silicone cast wiring, assorted metal hardware

207 x 170 x 9 cm and 144 x 111 x 9 cm

The ArchiTecT, loss AT The surfAce
2014 (detail)

Production-made SFX transfer scars from movie ‘300: Rise of The Empire’, handmade silicone sheet, electrical fuse boxes, stainless steel pipes and frames, silicone cast wiring, assorted metal hardware

207 x 170 x 9 cm and 144 x 111 x 9 cm

The ArchiTecT, slowly crAwling
2014

Production-made SFX transfer scars from movie ‘300: Rise of The Empire’, handmade silicone sheet, electrical fuse boxes, stainless steel pipes and frames, silicone cast wiring, assorted metal hardware

186 x 181 x 9 cm

menTAl PArAsiTe reTreAT 1
2014

Screen-used cyborg chest prosthetics from movie 'Surrogates' (Bruce Willis' character), cinema chairs, plastic, foam, Dragon Skin silicone, assorted hardware, animatronics

menTAl PArAsiTe reTreAT 1
2014 (detail)

 Screen-used cyborg chest prosthetics from movie 'Surrogates' (Bruce Willis' character), cinema chairs, plastic, foam, Dragon Skin silicone, assorted hardware, animatronics

celuloide Pool AT The doorsTeP
2014

Screen-used melted cyborg finger props (car accident scene with K. Loken from “Terminator 3: Rise Of the Machines”, 2003), honeycomb aluminum panel, paint, laminated archival inkjet print, resin, debris

91,4 x 55,9 x 10,2 cm

sTeAdy feeT in limiTless resoluTion
2014

Screen-used melted cyborg finger props (car accident scene with K. Loken from “Terminator 3: Rise Of the Machines”, 2003), honeycomb aluminum panel, paint, laminated archival inkjet print, resin, debris

91,4 x 55,9 x 10,2 cm 

sTeAdy feeT in limiTless resoluTion
2014

Screen-used melted cyborg finger props (car accident scene with K. Loken from “Terminator 3: Rise Of the Machines”, 2003), honeycomb aluminum panel, paint, laminated archival inkjet print, resin, debris

91,4 x 55,9 x 10,2 cm 

The hosT, or you
2014

Screen-used melted cyborg finger props (car accident scene with K. Loken from “Terminator 3: Rise Of the Machines”, 2003), honeycomb aluminum panel, paint, laminated archival inkjet print, resin, debris

91,4 x 55,9 x 10,2 cm 

The hosT, or you
2014

Screen-used melted cyborg finger props (car accident scene with K. Loken from “Terminator 3: Rise Of the Machines”, 2003), honeycomb aluminum panel, paint, laminated archival inkjet print, resin, debris

91,4 x 55,9 x 10,2 cm 

The Architect's Plan, His Contagion and Sensitive Corridors
2014

Installation view, New Galerie, Paris, FR

dirT is JusT A mATTer ouT of PlAce
2014

Screen-used melted cyborg finger props (car accident scene with K. Loken from “Terminator 3: Rise Of the Machines”, 2003), honeycomb aluminum panel, paint, laminated archival inkjet print, resin, debris

91,4 x 55,9 x 10,2 cm 

The ArchiTecT, offsiTe inJecTion
2014

production-made SFX transfer scars from movie '300: Rise of The Empire', handmade silicone sheet, electrical fuse boxes, stainless steel pipes and frames, silicone cast wiring, assorted metal hardware

menTAl PArAsiTe reTreAT 2
2014

Screen-used cyborg chest prosthetics from movie 'Surrogates' (Bruce Willis' character), cinema chairs, plastic, foam, Dragon Skin silicone, assorted hardware, animatronics

Kata Doksa
2014

Resin, dye, screen-used frogs from the movie "Magnolia," parabolic lamp fixture, fluorescent lamp, metal hardware

26 x 50 x 8 inches

Kata Doksa
2014

Resin, dye, screen-used frogs from the movie "Magnolia," parabolic lamp fixture, fluorescent lamp, metal hardware

26 x 50 x 8 inches

 

 

Hunt You To The Edge Of The World For This
2014

56” acrylic screen, screen matched transfer SFX bruises from ‘Elysium’, view control film, articulating tv

mounting bracket, assorted hardware

dimensions 46”x 28”x 27” / 117 x 71 x 68

Hunt You To The Edge Of The World For This
2014

56” acrylic screen, screen matched transfer SFX bruises from ‘Elysium’, view control film, articulating tv

mounting bracket, assorted hardware

dimensions 46”x 28”x 27” / 117 x 71 x 68

Hunt You To The Edge Of The World For This
2014

56” acrylic screen, screen matched transfer SFX bruises from ‘Elysium’, view control film, articulating tv

mounting bracket, assorted hardware

dimensions 46”x 28”x 27” / 117 x 71 x 68

Amygdala
2014

42” acrylic screen, 4 production made chest prosthetics from ‘Splinter’, view control film, wall tv mounting bracket, assorted hardware

Amygdala
2014

42” acrylic screen, 4 production made chest prosthetics from ‘Splinter’, view control film, wall tv mounting bracket, assorted hardware

Amygdala
2014

42” acrylic screen, 4 production made chest prosthetics from ‘Splinter’, view control film, wall tv mounting bracket, assorted hardware

Timetodie
2014

46” acrylic screen, screen matched transfer SFX bruises from ‘Blade Runner’, view control film, ceiling tv mounting bracket, assorted hardware

Timetodie
2014

46” acrylic screen, screen matched transfer SFX bruises from ‘Blade Runner’, view control film, ceiling tv mounting bracket, assorted hardware

Timetodie
2014

46” acrylic screen, screen matched transfer SFX bruises from ‘Blade Runner’, view control film, ceiling tv mounting bracket, assorted hardware

Action Paintings
2013

Video trilogy on three screens (HD, color, sound, loop) canvases, dirt, vynil, dust, self-standing TV mount, 2 articulating TV wall mounts, double-sided TV ceiling mount, assorted hardware

Action Paintings
2013

Video trilogy on three screens (HD, color, sound, loop) canvases, dirt, vynil, dust, self-standing TV mount, 2 articulating TV wall mounts, double-sided TV ceiling mount, assorted hardware

Action Paintings
2013

Video trilogy on three screens (HD, color, sound, loop) canvases, dirt, vynil, dust, self-standing TV mount, 2 articulating TV wall mounts, double-sided TV ceiling mount, assorted hardware

Action Paintings
2013

Video trilogy on three screens (HD, color, sound, loop) canvases, dirt, vynil, dust, self-standing TV mount, 2 articulating TV wall mounts, double-sided TV ceiling mount, assorted hardware

Action Paintings
2013

Video trilogy on three screens (HD, color, sound, loop) canvases, dirt, vynil, dust, self-standing TV mount, 2 articulating TV wall mounts, double-sided TV ceiling mount, assorted hardware

Action Painting (SEQUEL)
2013 (Video still)

HD, sound, color, loop (4 min)

Action Painting (SEQUEL)
2013 (Video still)

HD, sound, color, loop (4 min) 

Action Painting (SEQUEL)
2013 (Video still)

HD, sound, color, loop (4 min)