When in 2011 Dora García was chosen to represent Spain at the 54th edition of the Venice Biennale, she realized that the representation system according to which each stand exhibits an allegedly portrayed national identity (by one or many artists) is not adequate.

Thus the conceiving of “Lo inadecuado” [1] (The Inadequate): an extensive and collective performance centered on the formal character of escaping from adequacy, in many ways. The performance, which exceeded the time and space assigned for the exposition, this way transformed itself in an act of resistance and an answer to the excessive norms of the art system in particular and the social regime in general. In the effort of withdrawing from the model, the artist focused herself into preserving the performance’s execution as a thoughtful act and not as as mere entertainment,  in such a way that contemporary art and the event itself would have to detach with their relation to leisure and tourism, to elements with which they too seldom confuse, especially during a macro-event of such proportions. The excluded, the outsider and the marginal are placed at the epicenter of the platform of knowledge which proposes itself as a work of art located inside an Italian context to whom all the active participants correspond.

During the month of June took place “El artista sin obra: una visita guiada en torno a nada” (The Artist without Work of Art: a Guided Visit Around Nothing), which responded directly to the system’s demands: from the public to the museum, passing across events such as this, there is a certain constant demand of “something to see”. In the mainstream the object becomes the fundamental rule of the game of hierarchies and capitals [2]; thus its absence becomes a serious accusation of fraud – for unproductiveness – .

Within the adaptation of this inadequacy lies the impulse that is thrown against the institution: not just a container for amassing pleasures and bearing the elitism of a certain high culture anymore, but instead a porous platform, in constant debate with the professionals of culture, the activists, the psychiatrists, the urbanists, the architects, the journalists, the sociologists or the philosophers. Art as something that is happening, that doesn’t need authorships or white cubes, neither geniuses or virtuosities. Art as a situation or as a shared dynamic, and not necessarily generated by the artist as such. The work of art as the footprint of an ideology [3] which was coined, among others, by an anti capitalist Guy Debord: an ode to not doing with pleasure, in which is alienation is soothed. “I prefer not to”, as Bartleby would say.

This mechanism, reproducible and adaptable depending on the context, responds to an exercise of political imagination and it grants, on one hand, a democratization of the access to knowledge thanks to the dynamics started by the piece in process, in which the roles of commissary-artist-public are interchangeable and mixed up.

On the other hand, the institution that welcomes these non-productive practices of investigation must change, at least temporarily, and adapt its criteria and methods. Participation and lack of exhibition demand a certain awareness and permeability that some have pointed out as the need of a distributed institution, whose walls are now incapable of containing a permanent inside-out movement (museum-life). The organization’s focuses are horizontal cooperation and rise of awareness in the institution as a non-hierarchal educational platform: may this be a school or a laboratory (even better so a kitchen [4]). A new method- educational turn [5] , expanded education and performance element- and a new institution as an answer to an imposed and worn out model, which qualifies itself within its own internal system and not in social recoil. A cascade of the imagination’s crystallizations of new ways of doing.

[1] García, Dora, “Lo inadecuado”, Bienal de Venecia, AECID y A/CE

[2] Pulido, Natividad, “El gran teatro del arte, según Dora García”, ABC, 1-6-2011   http://www.abc.es/20110531/cultura-arte/abcm-gran-teatro-arte-segun-201105311741.html

[3] Szott, Randall, “An Artwork Does Not Necessarily Need An Author; An Author Does Not Necessarily Need An Artwork – Dora García”

[4] Lafuente, Antonio, “La cocina frente al laboratorio”, Yorokobu, 19-6-2014 http://www.yorokobu.es/kitchen-vs-lab/ (19-2-2016)

[5] Curatorial Dictionary: Educational Turn (19-2-2016)http://tranzit.org/curatorialdictionary/