Pablo Mora

Colombia, 1976



1996 -2001 LAW AND POLITICAL SCIENCE, Universidad Pontificia Bolivariana, Medellín, Colombia

2010- 2013 MA IN PHILOSOPHY, Universidad de Antioquia, Medellin, Colombia.



2016 Contra el Paisaje, Galería de la Oficina, Medellin, Colombia.

2015 22 de Octubre, La Balsa Arte, Bogotá, Colombia.

2014 22 de Octubre, Galería de la Oficina, Medellín,

2011 Construcciones Oscuras, La doble Elle, Medellín, Colombia.



2017 Patio de esculturas, Museo de Arte Moderno de Medellín (MAMM) Colombia

2017 Historias para repensar, Museo de Antioquia, Medellín Colombia

2016 De Regreso a Caza, Casas Riegner /Galería de la Oficina, Medellín, Colombia.

2015 Once Again, Galería de la Oficina Medellín, Colombia.

Edición Limitada, Museo de Arte Moderno de Medellín, Colombia.

2014 Tiempo Complementario, Galería de la Oficina, Medellín, Colombia.

Superficies de Colección, Galería de la Oficina, Medellín, Colombia.



2016 PROTOTIP artistic association Belgrade, Serbia.






COLLECTIONS (selection)

Museo de Antioquia (permanent exhibition)  

Bar-On. Bogotá Colombia.

SEIKALY. Centre Pompidou Foundation. USA

MULDER. Centro de la Imagen. Perú



2016 1985 — Un enunciado estético de lo monstruoso, Érika Martínez Cuervo, El Espectador (news paper), Colombia.

2015 De la violence urbaine aux baristas branchés, Medellín finit son liftin, Bérénice Debras, Madame le Figaro, France.

¿Qué es el arte político? Tres artistas hablan sobre su obra, Daniel Zamora, Revista Diners, Colombia.

Emerging Voices Award, Financial Times.

El tiempo illegible, Érika Martínez Cuervo, El Espectador (news paper), Colombia.

El trágico ’22 de octubre’ de Pablo Mora, Periódico Arteria. Colombia

2014 Pablo Mora, tras el expediente de un 22 de octubre, Daniel Grajales, El Mundo (news paper), Colombia.

 2011 Construcciones Oscuras la obra de Pablo Mora, Lucrecia Piedrahita Revista Coherencia, Universidad Eafit, Medellin, Colombia.



Working across different media, Pablo Mora’s work deals with the oblivion caused by failing political systems, its attendant apathy and negligence. Although Mora usually works with legal records from Colombia’s archives, the issues he addresses are not confined to one country, they are global. As an artist whose work is informed by his study of the law and philosophy Mora challenges the very notion of the archive, but in a very personal way, through the use of different forms of erasure; the obliteration employed transforms and transfigures the material, giving his work a subtle affective register. Mora does not attempt the recovery of memory within each document; on the contrary, he seeks to materialize forgetfulness itself by means of diverse techniques of alteration. It is the artist’s quest to reaffirm the need to bring to memory some form of consciousness by focussing on the consequences of crumbling and tainted institutions. In his resent work, Contra el Paisaje (Against Landscape), a dark horizon line of inky mountains made with an official endorsing stamp crosses out the legal discourse of some official titles of land mining rights. Here, what is revealed is a new cartography constructed with images that prompt questions about the political, economic, ecological and social implications of this activity.

Pablo Mora lives and works in Medellin, Colombia. He received a scholarship within the framework of the residency programme at PROTOTIP in Belgrade, 2016. He was shortlisted for the Financial Times/Oppenheimer Funds, Emerging Voices Award, 2015.




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