Dora García’s work is strongly characterized by the involvement of its viewers, who are urged to take a stand on ethically contentious questions, to commit themselves to a closer examination of these matters and to reflect on the institutional nature of the setting in which their encounter with works of art takes place.
Hers is a practice based on research, and one that focuses on subjects which recur and are woven into the whole fabric of her production, such as the interest in the history of anti-institutional movements (with particular attention to anti-psychiatry), the figure of the artist as outsider and mechanisms of communication, whether linguistic or not. These subjects are not explained to the viewer, but laid out with an attitude that verges on a challenge: documents, ambiguous reenactments in performances, lectures and talks, videos and books are presented in the exhibition space as archives, sophisticated sets of references, reworkings. Viewers have to choose their own key of interpretation, decide what attitude to take, the degree of interaction they wish to have with the work. Or remain impervious to the provocation of an enigmatic theme, ambiguously presented in such a way as to make people think. As a complement to this total openness of interpretation, García prepares a series of instruments, often in the form of websites, to share her sources with viewers, to inform them about her projects and keep them up to date on their development and to get to know their opinions and reactions through blogs and social networks.