Dora García

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). In 2018-24 she developed the film project "Amor Rojo", on Marxist feminist Alexandra Kollontai and the impact of her legacy on Third-World, intersectional transfeminisms.

She has produced, as editor and author, a large number of publications, among the most recent are: Inserts in Real Time (2023, M HKA, Antwerp, BE) If I Could Wish for Something (Netwerk BE & Fotogalleriet NO, 2021), Love with Obstacles (K.Verlag, DE 2020), On Reconciliation (K.Verlag, DE 2018), and Segunda Vez (Torpedo Books, NO 2018).

Since 2018, I have been conducting research that began with the life, work, and impact of the Bolshevik revolutionary, sexual rights activist, and diplomat Alexandra Kollontai, as well as the transformation of her concepts of “comradely love,” “class solidarity,” and “abolition of the family” into concepts of fourth-wave feminism, such as “radical tenderness,” “postcolonial feminism,” and “abolition of the heteronormative family.” This research has taken me into quite surprising territories, such as the theories of a-chronia (Elizabeth Lenk, Octavia E. Butler), u-chronia (Philip K. Dick), fractal narrative (Joyce, Cortázar, Lispector), and Autocoscienza as a method (Carla Lonzi). A path that has immersed me even further in political action, publishing, and going beyond the exhibition format.