Alexandre Nitzsche Cysne (born in Rio de Janeiro in 1998) lived in Niterói, a port city neighboring Rio de Janeiro, until 2022. He is currently based in Paris, where he finished his master’s degree (with highest honors) at the École des Beaux-Arts de Paris, in Tatiana Trouvé’s atelier. During his studies, he collaborated with the artist Sophie Calle, he is the winner of the Prix Baudry d’Asson, awarded by the Amis des Beaux-Arts de Paris (2024), and as well the Carré-Sur-Seine Prize (2025).

His artistic practice is grounded in affective animism, emerging from an interest in what could be seen as an archaeology of sensitivity: the possibility of connecting stories and the need, through

the salvage of urban and domestic materials, to preserve an ordinary historicity that resists as a connecting thread between distant lives.

He is drawn to the materialities of everyday life, as they can be revealed or reconfigured through minimalist gestures such as juxtaposition, subtraction, addition, and reorganization in continuity with the reflections initiated by the artists of Arte Povera. These articulations poetically question utilitarianism and the notion of sustainability in an era of great acceleration.

Textures, stains, and cracks become clues leading toward a cartography of intentions, a subliminal labyrinth thar reflects the socio-political fabric specific to each territory, interrogating the values

assigned to each element and what is deemed worthy of attention.

Nitzsche Cysne’s practice unfolds as a careful and attentive process that seeks to dignify what remains, vestiges that once were meaningful to us all, but that are now transparent, receptacles of memory, capable of being displaced and touching a subjective zone between senses.

It is an exercise in curiosity, an endless collaboration. He acts as a bridge between encounters and unknown stories, allowing them to observe one another and, in doing so, compose contemplative

poems. These long journeys crystallize into sculptures, drawings, paintings and installations.

He collaborates with institutions, recycling centers, merchants, flea markets, and the streets, in short, with spaces that retain human memory and gestures, both in Paris and its suburbs.

Having lived most of his life in Rio de Janeiro, Brazil, he learned to find strength in the limitations and to use improvisation to his advantage, drawing from a collective imagination in communion with these materials shaped by human hands and footsteps, and sculpted by nature: friction, light, and humidity.

Revisiting these roots always is essential to the artist.

It can be said that his work aims to construct an affective museum imbued with intention, transforming each memory into an effect. He plays with life, at the limits of the concrete world.