David Lozano (Bogota, 1960) studied Fine Arts at the National University of Colombia, and later, in 2003, he received his master's degree at the same university. He is a Colombian artist, teacher, cultural manager, researcher, and curator.

Within the diversity of his work, he explores the body, eroticism, and body politics; he is interested in material culture, objects, and their affections. His work has traveled to different countries, obtaining different recognitions. In his most recent installations, videos, and collaborative performances, David Lozano has shown a notorious tendency to investigate the instinctive, to probe new natures with a carnality and viscerality that often goes beyond the morphological appearance of the object. An art that is not marked by universality but by specificity and fragmentation, the product of an implosion from the very history and theory of art. His works range from painting, drawing, engraving, photography, video, and performance. David Lozano has participated in several group exhibitions, such as New Plastic Expressions (1988) at the IX Salón del Museo de Arte Contemporáneo Minuto de Dios de Bogotá, at the Salón Nacional de Artistas (1993, 1994, 1997 and 1998), and at the Museo de Arte de la Universidad Nacional de Colombia in the exhibitions El lápiz del artista (2000), Emergencia (2000), Tránsito (2001), The paradoxical objetct (2002), Portable (2002), DARC. Congressional Art Department (2005) and 147 Masters: Commemorative Exhibition (2006), where he presented a series of photographs based on the work of Robert Mapplethorpe, reinterpreting with the necessary historical distance a photographic series that, at the time, was the subject of controversy.

Recently, he presented at the Archivo Arkhé, Archivos de Arte Latinoamericano in Madrid, Spain, his exhibition “Memory and Residue” (2024), in which he challenges the viewer to confront the vulnerability of the human body in times of HIV/AIDS pandemic, inviting a profound reflection on the human condition.