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Dora García, Two Planets Have Been Colliding for Thousands of Years, 2017. Durational performance. Courtesy of Kerenidis Pepe Collection, Paris. Photo: Isabelle Arthuis

Dora García: Two Planets Have Been Colliding for Thousands of Years

  • Performance
  • Contemporary Art
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PHI Foundation 465 Saint-Jean Street
Montréal, Québec H2Y 2R5

Free admission Reservations required

A durational performance

Curated by

In Dora García’s Two Planets Have Been Colliding for Thousands of Years, two performers face each other, their gazes interlocked. Each is positioned inside one of two non-concentric circles. As one performer moves, the other must alter their position to maintain a constant distance, which they agreed to keep between them at the beginning of the performance. All of this happens while the performers maintain eye contact. At some point, however, this becomes impossible as the circles are not concentric. When this happens, the performers must start over in an endless game of continual negotiation.

The presentation of this performance by Dora García offers the Montreal community an opportunity to reconnect during the pandemic and to experience ways of healing through movement. The coronavirus crisis has created a breach between the current practices of the performers and those of the past, even as negotiations with regard to space, meaning, and touch redefine the future of live artworks. Two Planets Have Been Colliding for Thousands of Years provides a space of mediation and collaboration for performers to react to one another and communicate body-to-body as instructed by the artist, and for the public to reflect on the length of time that we have passed in confinement in our city.


Dora García
Dora García studied fine art at the University of Salamanca, Spain, and the Rijksakademie in Amsterdam. She lives and works in Barcelona. García uses the exhibition space as a platform to investigate the relationship between visitor, artwork, and place. To this end, the artist often draws on interactivity and performance. With only minimal changes, a presentation space is converted into a sensory experience, each visitor departing with altered perceptions, or, at the very least, a degree of skepticism. García represented Spain at the 54th Venice Biennale, in 2011. Selected exhibitions include: Power Plant Contemporary Art Gallery, Toronto, 2015; Punkt Ø, Moss, Norway, 2015; Fonderie Darling, Montreal, 2014; documenta (13), Kassel, Germany, 2012; Frac Île-de-France, Paris, 2011; Gwangju Biennial, Korea, 2010, 2016; Lyon Biennial, France, 2009; Tate Modern, London, 2008; Centre Pompidou, Paris, 2008; Mudam, Luxembourg, 2008; SMAK, Ghent, Belgium, 2006; MUSAC, León, Spain, 2004; and the Museum of Contemporary Art of Barcelona, 2002.

Victoria Carrasco
Born in Montreal, Victoria Carrasco is a Chilean-Canadian curator. Currently she is Gallery Management and Adjunct Curator – Public Programs at the PHI Foundation for Contemporary Art. Carrasco holds an MA in performance curation from the Institute of Curatorial Practice in Performance (ICPP) at Wesleyan University, a BA in environmental design from the Université du Québec à Montréal (UQAM), and a BFA with a concentration in photography from Concordia University. In 2019, she was awarded the Ford Foundation ICPP Leadership Fellowship by Wesleyan University. Her research examines the limitations of public art as performance as a utopian concept through notions of space, medium, and legacy. Her curatorial practice extends from gallery management—challenging processes and promoting equality within workplace culture, and studying the visitor experience in a mediatory context of discussion and transmission of knowledge—as well as developing collaborations and relationships for the presentation of performance.



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A Collaboration with Artist Rachel Echenberg

July 7—Aug. 1, 2021

In conjunction with Dora García’s performance Two Planets Have Been Colliding for Thousands of Years, artist Rachel Echenberg was invited by the Education team at the PHI Foundation to create a pedagogical activity involving a series of instruction cards for chosen or biological families based on her own performance practice.

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Education Program

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Instructions Cards: An Art Activity for the Public

Pile, Touch, Yell, Cocoon: Performance Suggestions

This activity, involving a series of instruction cards for the public, is based on Rachel Echenberg’s performance practice. Through text and photographs, each propose an action to be performed in groups or alone.

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Video Screening

How to explain performance art to my teenage daughter. (2018)

From July 13 to August 1, 2021, Rachel Echenberg’s video work How to explain performance art to my teenage daughter. (2018) will be presented on this web page to offer further insight into how the collaborative project with the Education team relates to her art practice.

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A Conversation with Rachel Echenberg

With Amanda Beattie

In this pre-recorded video conversation, Rachel Echenberg is joined by members of the Education team to discuss how the instruction cards that she proposes can be experimented with.

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Liquid Shade: Gaze Screening and the Spirit of Performance in Dora García’s Two Planets Have Been Colliding for Thousands of Years

By Paul Lofeodo

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