Dora García makes use of installation and video but also drawings and texts, usually as part of performative situations in which her body never appears. We are in the presence of what the art historian Claire Bishop calls ‘performance delegate’, in which the subjective intervention of the artist is limited and has no way to determine further practical developments in the action, which is instead entrusted to others. García prefers to work as a director who orchestrates the staging on the basis of a script, while accepting its open form and indefinite finale, in a continuous negotiation of the relationship between her, the actors, the audience and the work. [...]
