Dora García draws on interactivity and performance in her work, using the exhibition space as a platform to investigate the relationship between artwork, audience, and place.

Dora García (1965, Valladolid, Spain) sculpts and arranges knowledge as a material in its own right. Using extensive documentary research, she delves into complex topics such as the history of the irrational, subconscious mind, and forges links with the great names in literature––including Walser, Artaud, and Joyce. The oeuvre of Dora García folds up into writing, film, installation, and performance, as is centred around stories which she organises and stages, conjuring situations designed to engage the visitor and trigger unique, introspective experiences. The result of this multidisciplinary atlas is a highly conceptual and metaphorical discourse that addresses issues like the artistic dimension of fiction, marginality as a form of resistance, or the symbolic logics that condition our relationship with cultural spaces and products.


Dora Garcia’s works have been exhibited in Museo Nacional Centro de Arte Reina Sofía (Madrid), Fondation d’Entreprise Hermes (Brussels), Power Plant Contemporary Art Gallery (Toronto), Fonderie Darling - Centre d’arts visuels (Montreal), Punkt Ø (Moss), Centre d’Arts Visuels (Montréal), FRAC Ile-de-France (Paris), Tate Modern (London), MNAM - Centre Georges-Pompidou (Paris), MUDAM (Luxembourg), SMAK (Gent), MUSAC - Museo de Arte Contemporáneo de Castilla y León, MACBA - Museu d’Art Contemporani de Barcelona, Index Contemporary Art Foundation (Stokholm), Fundació La Caixa (Barcelona), Centro de Arte Dos de Mayo (Madrid), Tel Aviv Museum (Israel), MAC’s - Musée des Arts Contemporains (Bossu), MOCAK (Krakow), Fondation d’entreprise Ricard (Paris), Villa Arson (Nice), Henry art Foundation (Seattle), among others. 

Dora García participed at the 54th, 55th, 56th Venice Biennale, (d)OCUMENTA 13 ), 2nd Athens Biennale, 10th Lyon Biennale, 29th São Paulo Biennial, 16th Biennale of Sydney, the Gwangju Biennial, and more.