Biography

Alesia Martynovich (b. 2000, Slutsk, Belarus) is an interdisciplinary artist based in Krakow. She works with video, audiovisual installation, painting, collage, and artist books. Her practice follows how identity is formed through routine, migration, cultural memory, and the social reading of the body.

Martynovich studied Architecture at the Belarusian National Technical University in Minsk, graduating in 2023. During her studies, her object work Materiality. Actuality. Reality was presented in a group exhibition at the Azgur Museum in Minsk in 2022.

After moving to Poland in 2023, she began to work more directly with displacement and the transformation of cultural codes. These questions informed Dispersion of the National Code, featured by @by_kod in 2024.

Since 2025, she has been pursuing a Master of Science in Architecture at Cracow University of Technology, with expected completion in 2027. Her architectural background shapes her attention to space, material, structure, and the position of the viewer.

In 2025, Human Recognition System was included in the group exhibition Motherhood at the Azgur Museum in Minsk. In April 2026, she presented Kim jestem?, a solo spatial audiovisual installation at Scena Supernova in Krakow.

In 2026, Martynovich completed the online programme Workshop 1+1=1. Contemporary Artistic Practices: From Collage to Actionism, developed in collaboration with ART GROUP 1+1 and led by artists Mikhail Gulin and Antonina Slabodchykava. Within the programme, she created The Red Underwear That Is Meant to Bring Happiness, an artist book and mixed-media object made with a found vintage book, cosmetics, textile, and collage.

Artist Statement

I work with video, painting, photography, collage, and artist books. My practice begins with ordinary gestures and found situations, where routine becomes a way to observe identity, social roles, and memory.

I am interested in moments when familiar actions become unstable: walking, waiting, posing, being looked at, carrying objects, and repeating small domestic or urban rituals. Through montage, text, interruption, and material traces, I look at how personal experience is shaped by systems of recognition, inherited images, and cultural codes.

Migration sharpened my attention to belonging as something constructed rather than fixed. Across my work, images and routines are broken down, displaced, and reassembled, becoming a method of reading the self within changing social and cultural environments.