Dora Budor’s exhibition takes dissociation as its mode of perception, where the loss of ground becomes a cumulative, shape-giving force. At Bonner Kunstverein, Budor negotiates Haus-Rucker-Co’s mid 1980s conversion of a flower market into a contemporary art center as it exists today. Rather than filling its singular hall, she moves through the architecture, drawing form from the psychic energies of social and economic life. Sculpture, video, sound, installation, and the work of other artists strategically engage with and question a supposedly neutral and non-hierarchical exhibition system, and the freedom it seeks to stage.

The exhibition is accompanied by an essay written by Eleanor Ivory Weber and is structured through a prelude of moving image works by Camilla Wills, Eleanor Ivory Weber, Henrik Olesen, and Yvo Cho. Installed in the spaces that precede or surround the exhibition, these works speak on the limits and failures of language, social structures, morals, and value.