Extramural project. Dora García

The third edition of the Project Extramural will begin as part of the opening of the Grec Festival 2026 and will once again feature the ongoing collaboration of Eina Centre Universitari de Disseny i Art de Barcelona and Centre d’Art La Capella. This year, the artist invited to explore the city as a space for intervention, mediation, and thought will be Dora García (Valladolid, 1965).

This initiative of the Museu Tàpies takes a multidisciplinary and pluralistic approach, structured around three main conceptual pillars: inter-institutional dialogue, dialogue with public space, and dialogue with the environment. This approach fosters reflection on contemporary issues and the implementation of a decentralized and intermittent program, capable of reshaping how art institutions engage with their urban, social, and ecological context.

The invitation to Dora García stems from a desire to address these issues through an artistic practice deeply rooted in performance, storytelling, and collective psychology. Her work, focused on the figure of the spectator, the dissenting voice, and the construction of alternative narratives, offers an opportunity to explore the city as a space for critical thought and social experimentation.

Timelines / resurrection is an artistic project conceived by the artist Dora García that unfolds through a series of interventions, performative actions, collective investigations, and film screenings that occupy public space, the museum, the city, and its symbolic margins. The project proposes a constellation of practices that, despite adopting diverse forms, share a common conceptual core: the idea of ​​resurrection as justice, understood not in a religious or metaphysical sense, but as a critical, political, and historical tool for reflecting on the forms of violence, exclusion, and resistance that permeate the present.

In this sense, the notion of resurrection as justice draws from literary, musical, and political sources ranging from Vladimir Mayakovsky to Gal Costa, by way of Sylvia Rivera, Walter Benjamin, and Elias Canetti. In all of them, resurrection appears as a radical demand: the need for what was silenced, violated, or sacrificed to be able to speak again, to exist, and to transform the conditions of the present. The song Love, performed by Gal Costa and based on the poem Love 3Mayakovsky’s poem becomes a key text within the project. His cry—”Resurrect me, if only because I am a poet and longed for the future”—articulates a vision of resurrection as a historical horizon, as a form of justice that can only arrive when the everyday structures of oppression, misery, and sacrifice are dismantled.

Dora García conceives this project as an exercise in listening and collective questioning, where the past is not a closed time, but an active force that returns to challenge dominant discourses and contemporary power structures. Resurrection, in this framework, is not so much the literal return of the deceased as the possibility of symbolically repairing injustices that continue to operate in the present. García invites us to understand resurrection as an active practice: remembering, reactivating, speaking again, and redoing what has been interrupted. In this sense, the project does not offer definitive answers, but rather shared spaces for questioning, listening, and resistance.