Achronie is political

Dora García – Achronie is political
Monday 24 March, 19.00–21.00
Rijksakademie Schip
entrance free, RSVP here

In 'Achronie is political', artist and Rijksakademie alum and advisor Dora García shares current inquiries on the relationship between feminism, human memory, and the potentialities of experiencing past and future as a simultaneous force. 

Achronie is a term coined by Elizabeth Lenk, which means an interlocking of epochs in which the walls of different times get so close together that they become permeable. Time can then, be "pulled apart like an accordion (...) but also pushed into each other like Russian dolls". 

Achronie is a concept that connects to Walter Benjamin and Asja Lacis' term "porosity"and to the image of history proposed by Benjamin: "A memory as it flashes up at a moment of danger". In this regard, we are now more contemporary than ever, with fighters such as Alexandra Kollontai, Frantz Fanon or Gloria Anzaldúa.   

Achronie, instead of "utopie" means a different model of the future: not an ideal place that exists elsewhere, but a time – here and now – made of a simultaneity of different pasts and futures. A fractal history of ideas.  

Dora García (RA 89/91) has developed works on the GDR political police (the film ‘Rooms, Conversations’, 2006, first presented at GfZK, Leipzig), on the comedian Lenny Bruce (‘Just because everything is different... Lenny Bruce in Sydney’, one-time performance, Sydney Biennale, 2008) or on the rhizomatic associations of antipsychiatry (‘Mad Marginal’ book series since 2010, and ‘The Deviant Majority’, 2010, part of her extended performance project ‘The Inadequate’, first presented at her solo in the Spanish Pavilion, 54th Venice Biennale). She has used classical TV formats to research Germany's most recent history (‘Die Klau Mich Show’, Documenta13, 2012), frequented Finnegans Wake reading groups (‘The Joycean Society’, 2013), created meeting points for voice hearers (‘The Hearing Voices Café’, since 2014) and researched the crossover between performance and psychoanalysis (‘The Sinthome Score’, 2013, first presented in Kunsthaus Bregenz, then in the international exhibition 56th Venice Biennale; and ‘Segunda Vez’, 2018). She is currently concluding her film project ‘Amor Rojo’, on Marxist feminist Alexandra Kollontai and the impact of her legacy on Third-World, intersectional feminism, and starting a new film project, ‘END’, on the intersection of climate catastrophe, human memory, and female voice.