Multidisciplinary artist, trained as a physician and surgeon at the University of Antioquia.

Her extensive body of work has developed at the boundary between art, medicine, politics, and society.

Although her art is influenced by her medical training, it goes beyond a fascination with the purely organic or biological and its possible representations to speak of the body as a site for the staging of human experience, both individual and collective; a territory closely connected to the geographical one, a body that passes through clinical spaces in an individualized way, a patient-body that evidences the signs and narrates the symptoms of a broader being: collective, historical, cultural, political.

Throughout her career, Libia Posada has employed equipment, materials, objects, images, and texts from the medical repertoire to develop a language of signs, symbols, and codes of representation, through which she formulates critical reflections on themes such as life, death, reason and madness, humanity, collective and biological aggression, gender-based violence, and the intersections between scientific, empirical, and ancestral knowledge through her work with communities.

Her projects range from individual works to exchanges with specific groups of people, especially women, addressing issues such as Evidencia Clínica 1 (Clinical Evidence 1), RETRATOS (Portraits), Hierbas de Sal y Tierra (Herbs of Salt and Earth), and Signos Cardinales (Cardinal Signs), among others.

Characteristic of her work is the creation of scientific environments within the museum space:cold, rational, and aseptic, that expose the contradictions inherent in science itself. These spaces activate in the visitor a series of physical, perceptual, psychic, emotional, and mental memories linked to human experiences in hospital settings. This situation within the space, removed from the power science exercises in clinical contexts, fosters deep reflection on the fragility of existence and on other issues that call into question the human condition when we are at once subject, object, and patient.

Libia Posada’s work has been exhibited nationally and internationally.

Her solo exhibitions include Definición del Horizonte (Definition of the Horizon), a review of her last twenty years of work, Museum of Modern Art of Medellín; Pasado Tiempo y Futuro: Arte en Colombia siglo XXI (Past, Present and Future: Art in Colombia in the 21st Century); Medellín una historia colombiana (Medellín: A Colombian Story), Musée Les Abattoirs, Toulouse, France; Evidencia Clínica: Retratos (Clinical Evidence: Portraits), National Museum of Colombia (2009) and Museum of Antioquia (2007); as well as her nomination for the Premio Luis Caballero (Luis Caballero Prize, 2011) and Signos Cardinales (Cardinal Signs, 2009).

Group exhibitions include Weather and the Whale: Human and Animal Migration, Institute of Arts and Science, UC Santa Cruz; En y entre Geografías (In and Between Geographies), Museum of Modern Art of Medellín; MDE 2015, Museum of Antioquia, Medellín; I Bienal Internacional de Cartagena (I International Biennial of Cartagena, 2014); Face Contact / FOTOESPAÑA, Iberia Center for Contemporary Art, Madrid (2011) and Beijing (2012); Máquinas (Machines), Oí Futuro Media Center, Belo Horizonte, Brazil (2011); Skin, Wellcome Trust, London; MDE 07, Museum of Antioquia, Medellín; Otras Miradas (Other Views), International Itinerant Exhibition, 2004–2006; and the VIII Bienal de La Habana (VIII Havana Biennial), Wifredo Lam Center, Havana, Cuba (2003).

Her work is held in public collections including the National Museum of Colombia (Museo Nacional de Colombia), the Banco de la República Art Collection (Colección de Arte del Banco de la República), the Museum of Antioquia (Museo de Antioquia), and the Gilberto Álzate Avendaño Foundation (Fundación Gilberto Álzate Avendaño), as well as in private collections in Houston, Paris, London, Amsterdam, among others.