Dora García is an artist, teacher and researcher who draws on interactivity and performance in her work, using the exhibition as a platform to investigate the relationship between artwork, audience, and place. García transforms spaces into sensory experiences by altering perceptions and creating situations of interaction, often using intermediaries (professional actors, amateurs, or people she meets by chance) to enhance a critical look at things. By engaging with the binary of reality vs. fiction and dwelling in questions of time – real, historical, cyclical, fictional – visitors become implicated (knowingly or not) as protagonists, either in the construction of a collective fiction, or in the de-construction of conventions.

Dora García has developed works on the GDR Political police (the film “Rooms, Conversations”, 24′, 2006, first presented at GfZK, Leipzig, Germany), on the comedian Lenny Bruce (“Just because everything is different… Lenny Bruce in Sydney”, one-time performance, Sydney Biennale, 2008) or on the rhizomatic associations of antipsychiatry (“Mad Marginal” book series since 2010, and “The Deviant Majority”, film, 34′, 2010, part of her performance project “The Inadequate”, first presented at the Spanish Pavilion, 54th Venice Biennale). She has used classical TV formats to research Germany’s most recent history (“Die Klau Mich Show”, Documenta13, 2012), frequented Finnegans Wake reading groups (“The Joycean Society”, 53′, 2013), created meeting points for voice hearers (“The Hearing Voices Café”, since 2014) and researched the crossover between performance and psychoanalysis (“The Sinthome Score”, 2013, and “Segunda Vez”, 2018). She is currently working on the film project “Amor Rojo”, on Marxist feminist Alexandra Kollontai and the impact of her legacy on Third-World, intersectional feminism.