Antenna Space is pleased to announce artist Dora Budor’s group exhibition Sun Rise | Sun Set at Schinkel Pavillon in Berlin, exhibits her most recent installation works.

Dora Budor’s practice finds its origins in research of local histories, ecosystems, cultural tendencies, rites and circumstances. In Budor’s works, forms are not fixed or eternal, everything is mutating into something else, and objects are incorporated into new transitive systems. Here, each element exists in interdependency with the other.

For Sun Rise | Sun Set Budor has created a new work. During her three-month stay in Berlin in 2020, Budor used a rental bicycle, which she rode daily from her flat to her studio – passing the Schinkel Pavillon. At the end of her stay, Budor melted the bike and cast it into a mold made from the original ready-made by Baroness Elsa von Freytag-Loringhoven, titled Enduring Ornament (1913).

Von Freytag-Loringhove – a German avant-garde, Dadaist artist, performer, poet and self-proclaimed anarchist, challenged the bourgeoisie notions of feminine beauty and economic worth in her work. Enduring Ornament is believed to be her first ready-made – an object found on the streets of New York on her way to her own nuptials. Measuring about 8.5 cm in diameter, however, the ring does not actually function as a wedding ring, and it is ambiguous if it could be a weight, or a part of a chain.

Like many women who participated in the aesthetic and social revolutions of modernism, Freytag-Loringhoven’s contributions have been structurally excluded from that history. Some of the recent scholarship proposes an alternative to dominant narratives in correlation to Duchamp’s work, and speculates on the possible transfer of ideas between the two artists, even questioning the authorship of the first readymade. However, despite certain similarities in artistic strategy, a major difference between Duchamp’s and Freytag-Loringhoven’s work lies in the lives of their objects. Whereas Duchamp’s were existing in the art system, collected and kept by museums, the Baroness’s readymade and assembled objects either self-destructed or very slowly percolated back into the world.