Pablo Méndez (Buenos Aires, 1988) is a contemporary artist, researcher, curator, teacher, writer and translator. His practice, situated and transdisciplinary, is based on a multi-species collaboration ethic in the context of the habitability crisis we face as a planet. For years, he has been exploring through art the links between humans and non-humans from a critical, poetic and political point of view, which intertwines sensitive, scientific and philosophical knowledge.

Since 2010, he has promoted research-creation processes that address ecological, colonial, and epistemic urgencies, always from what he himself defines as a “situated observation.” His work dialogues with concepts such as the Anthropocene or Capitalocene while aligning with environmental humanities and posthumanist thoughts. He understands art as a way to redistribute attention and privilege, as a space to open up possible worlds and make visible those who have historically been ignored.

Throughout his career, he has produced pieces in very diverse formats —installations, performances, speculative walks, radio happenings, oneiric archives, video essays and tracking devices— that emerge from the dialogue with each territory, with its affections, memories, and species. His solo exhibitions include Parmi des humains et des lucioles (2021-2023, Buenos Aires and Florianópolis), Chorégraphies du feu (2022, Buenos Aires), Les accidents sont issue de la confusion de ses causes (2019), Réveille ta rêverie (2016, Les Brasseurs, Belgium), trash (2010, Bahía Blanca) and Confesiones del aire (2009, Buenos Aires).

He also participated in multiple group exhibitions, including Documenta Fifteen (Kassel, 2022), Simbiología (Kirchner Cultural Center, 2021-2022), the Paris-Berlin Festival (Vide Library, 2024), Spotless (Institut Français de Bucharest and Simultan Festival, Romania, 2024), The Jungle Inside Me (Cité Internationale des Arts, Paris, 2024), We Have Never Been Alone (In. Plane, Paris, 2021), Les éclipsées (École Urbaine de Lyon, 2020) and Press to flush (FRAC PACA, Marseille, 2015-2016), among many others.

He earned scholarships and support from institutions such as the Fondo Nacional de las Artes, the Fondo Metropolitano de las Artes y las Ciencias, Mecenazgo Cultural (Argentina), CREA Matadero (Madrid), the Bienal de la Imagen en Movimiento (UNTREF) and FIVA. He was an artist-in-residence in spaces such as the Cité Internationale des Arts (Académie des BeauxArts, Paris), the National Museum of Natural History of France, Matadero Madrid, Dos Mares (Marseille), the CIC of Santa Catarina (Brazil) and the BIM.

He is currently an artist-researcher selected by the program FRArt – FNRS 2025-2027 (Belgium), where he develops the project Traces de l’extinction, an exploration of the radical otherness and the possibility of an aesthetic experience in endangered species extinction. This work is proposed as a transdisciplinary, transcultural and interspecies research, with a critical approach both to the forms of persistent colonialism and to the extractivist logic that continues to affect territories and bodies.

He trained at the École Nationale Supérieure de la Photographie (Arles), where he obtained his diploma with honours in 2015. His journey was also nourished by key exchanges with Valeria González, Gonzalo Aguilar, Vinciane Despret, Guadalupe Miles, Claudia Fontes, Natasha Myers, Thibault de Meyer, Anne-Lise Dauphine Morer and Dalila Puzzovio, among others.

Inspired by a quote by William James taken up by Vinciane Despret, he argues that we have to “defend the existence of a door where those who have not yet been taken into account can knock and ask to be heard.” His work is, precisely, an attempt to open that door.