Dora García (Valladolid, 1965) does not fit the mold of artistic protocols.
She either does she consider adaptive to her’s project the idea of artist.
Dora García works with what she loves and in that territory many things fit: poets, narrators, philosophers, psychoanalysts, performers, anonymous people.
And she does she does is to study that she likes: reading, interpreting, questioning, generating shared concerns.
Dora García is an artist who does not need art exactly.
Or the ornaments and conventions of it ..
Its proposals are part of the collections of some of the most important national and international museums.
He has participated in the Kassel Document (2012).
She has been a selected artist to intervene in the Pavilion of Spain of the Venice Biennial (2015).
In 2017 she exposed in Queen Sofia and titled the Sample ‘Second Time’, which refers to a story of the Argentine writer Julio Cortázar.
The work of it participates equally about the video, drawing, performance and text.
The ideas are the first piston of her works.
Do not stroke or color, but the concept.
And from there, anything can happen: from the theater to Happing and dance to Biodrama.
Dora García is one of the most personal (and best complexity) creators of the panorama of contemporary art in Spain.
The look of it does not drain the real, the immediate.
But always to question him, to introduce the doubt in the viewer before what is happening around her.
And, at the same time, to question the common spaces, unexpected situations and highlight the value of the unforeseen.
This is one of the reasons that the jury of the National Award for Plastic Arts to grant him the award, convened by the Ministry of Culture and endowed with 30,000 euros.
And this is justification: “By its integral way to conceive spaces to create performances in which interaction with public is key, as well as their versatility in the use of supports and their ability to favor ethical reflection related concepts and emotions
“.
In the last year, Dora García has worked on the relations between politics and love and the forms of solidarity between minorities, something that in the year of pandemic has been even more crude and difficult than in the times we could call “normal”.
With the new future perspective modified by the virus secklax, art may also (like everything) be somehow (albeit slightly) different.
And out there they also go suspected of it.
