Libia Posada is a multidisciplinary artist and medical doctor, graduated from the University of Antioquia. Her work unfolds at the intersection of art, medicine, politics, and society. While informed by her medical background, her practice transcends a fascination with the organic-biological and its possible representations. She conceives the body as a stage for human experience—both individual and collective—a territory deeply connected to the geographical landscape. This is a body that moves, individualized, through clinical spaces—a patient body—that reveals signs and narrates symptoms of a broader body: mental, collective, historical, cultural, and political.

Through the use of furniture, materials, objects, images, and texts drawn from the medical repertoire, Posada has constructed a system of signs, symbols, and codes of representation from which she develops critical reflections on themes such as life, death, reason, madness, humanity, collective and biological aggression, gender-based violence, and the relationships between scientific, empirical, and ancestral knowledge.

She often creates environments of a scientific nature—cold, rational, and aseptic—to expose the contradictions inherent in science and to activate in the viewer physical, mental, psychic, and emotional memories tied to experiences in hospital contexts. In her installations, detached from the authority science exercises in clinical environments, the space opens to reflections on the fragility of existence and on the challenges to the human condition when we become subject-object-patient.

Her projects move between the intimate and the collective, between individual experience and exchanges with specific human groups—particularly women—around concrete psychosocial issues, as seen in works such as Evidencia clínica; Hierbas de sal y tierra; and Signos cardinales.

Selected solo exhibitions include Definición del horizonte, a survey of her last twenty years at Museo de Arte Moderno de Medellín (2021); Materia gris o inoperancia de la razón, a project nominated for the VI Premio Luis Caballero (2011); Evidencia clínica: retratos, Museo Nacional de Colombia (2009); and Signos cardinales (2009). She has participated in numerous international projects, among them Aesthetics of Resilience (2025); En y entre geografías, Museo de Arte Moderno de Medellín (2015); Encuentro MDE15, Medellín (2015); Face Contact / PHOTOESPAÑA (2011); Máquinas, Centro de Medios Oi Futuro, Belo Horizonte, Brazil (2011); Skin, Wellcome Trust, London (2010); and the VIII Havana Biennial, Centro Wifredo Lam, Cuba (2003).

Her work is part of major public collections, including Museo Nacional de Colombia; Banco de la República Art Collection; Museo de Antioquia; and Fundación Gilberto Alzate Avendaño.