■ Monica Mura (Cagliari, 1979) is an interdisciplinary artist with an international profile, recognized for a practice that blends research, creation, and mediation from a critical and ethnographic perspective. Through the body and self-representation, her work explores the boundaries between real and virtual, intimate and collective, integrating social and cultural dimensions to project her discourse from a European context to a global horizon.

Her career is marked by precocity: at just 19 years old, she participates in the Esposizione Europea di Pittura U.M.C. (1998) at Castello di Udine, establishing her early work in the international circuit of the late 20th century. That same year she moves from Sardinia to London, studying the major British museum collections and developing her work with materials through ceramics experimentation. The following year, she begins her academic training at Università degli Studi di Torino (UNITO), graduating in Discipline of Art, Music, and Performing Arts (DAMS), specializing in Multimedia Languages under the mentorship of Alessandro Amaducci, Giulia Carluccio, Roberto Vecchioni, and Ferdinando Scianna.

In 2002, she moves to Galicia to complete her training at Universidade de Santiago de Compostela (USC), collaborating with Margarita Ledo Andión and the Grupo de Investigación Estudios Audiovisuales, consolidating her capacity to lead transdisciplinary projects. Her analytical work is evidenced as a speaker at the III International Congress Re-Pensar los Museos at Museo Nacional Thyssen-Bornemisza in 2016 with the text “De lugar consagrado a las Musas, a espacio dedicado a las Personas,” and at the conferences of the Rede Museística Provincial de Lugo (RMPL) between 2015 and 2017, addressing gender, museums, art, migration, and education. Her theoretical profile expands in 2020 with the lecture “Autorrepresentación, cuerpo y memoria” at the permanent communication and gender seminar CO(M)XÉNERO 4 at USC.

Her dialogue with science materializes in 2023 through the Meitner Project of the Instituto de Física Corpuscular (IFIC) and the Universitat de València (UV), aiming to combat the Matilda effect through art. The traveling exhibition Pioneras. Mujeres de la Física Nuclear y de Partículas, inaugurated at Casa de la Ciència of CSIC, combines large-scale textile installations with digital photography and gold pigments. Simultaneously, she develops for USC the project Minerais: ver o invisible. De Haüy á ermeloíta, in collaboration with the Museo de Historia Natural (MHN) and the Research Infrastructure Area (RIAIDT), co-curated by Óscar Lantes Suárez. In both contexts, Mura acts as artist and curator, conceiving site-specific macro-installations that translate complex scientific concepts into sensory experiences supported by mediation processes.

Her career reaches wide public recognition in ARCOmadrid. The presentation of La nueva armadura (2020) in the 2021 edition generated headlines in La Vanguardia, Ara Cultura, and El Confidencial, as well as features on Telecinco and live broadcasts for Televisión Española (TVE). She was selected as a highlighted work by the international magazine MOOD. The Art of Today, which dedicated the curatorial essay “Integrale… Meeting with Monica Mura” by Íñigo Rodríguez Román to her. In 2024, she appears on the cover of issue two of GIMNÁSTICA. Artes y Culturas. Magazine Book with the work Antenna Girl and her text “Un cuerpo consagrado al arte,” directed by Rubén Barroso. She coordinated initiatives with the collective Mujeres en las Artes Visuales (MAV), such as Caza ARCO (2023) and AmazOFFuturismo (2025), promoting visibility for women artists.

The itinerant series Ellas Cuentan (2016-) and its variants Elas Contan, Elles compten, and Issas Contant recover micro-stories of anonymous women, transferring them from domestic to public spaces. The project received the production prize at the Biennal de Mislata Miquel Navarro (IV ed., 2022) and culminated in 2023 with a large-scale urban installation of 130 portraits in Santiago de Compostela. Her research on intersectionality reached a milestone with the solo exhibition E ti que (de quen) vés sendo? (2018) at Iglesia de la Compañía (USC), reviewed by the ZigZag program of TVG.

Other notable works include Poder ver, Ver Poder (2018), broadcast on La aventura del saber (TVE), and Arraixinis: su bellu e su rovésciu (2021) at Museo per l’Arte del Rame e del Tessuto (MARATE). The Pensamiento Sonoro project (2022) received a Special Jury Mention from MAV at the Intersección Festival at Fundación Luis Seoane, and the accesit of the II Premi Jerònima Galés de Llibre d’Artista (2024).

From 2022, she is based in Valencia, later moving to Madrid (2023), consolidating her practice with the Dialèg Obert platform and site-specific projects such as Cuntzertu pro sonalla manna: Solu T18 (2023), Violac(c)ión (2024) at Museo Lázaro Galdiano, and Fragments of Self (2024), exhibited in Spain and Italy. In 2026, she participates in the Visión y Presencia cycle at Museo Nacional Thyssen-Bornemisza, presenting the project Cuntzertu pro sonallas.

Her work has been awarded the Premio XXV Mostra art públic / universitat pública (UV) for Dones i Homes (2022), finalist at the XVII Certame Isaac Díaz Pardo (2022), the Premio Intervenciones artísticas KALDARTE XXII (2019), and Mención Exilio at Galerías VII. La Cárcel de Segovia Centro de Creación (2019). Her works are part of collections such as CGAC, RMPL, MHN (USC), Colección Alterarte (UVigo), IFIC (UV), MARATE, and Muséu del Pueblu d’Asturies. Since 2021, she maintains a Virtual Museum that guarantees global dissemination of her practice.