Biography

Alesia Martynovich (b. 2000, Slutsk, Belarus) is an interdisciplinary artist based in Krakow. Working primarily with video, and also with audiovisual installation, object-based work, painting, collage, and artist books, she examines how the body is shaped and read within social, visual, architectural, and everyday systems.

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 primarily with video, and also with audiovisual installation, object-based work, painting, collage, and artist books. My practice turns to situations in which a person exists within a system: social, visual, architectural, or everyday. A work often begins with a simple action or found fragment: walking, waiting, a repeated route, an urban trace, an old book, a recognisable face, or a gesture that only appears neutral.

In these situations, the body may become a sign, a particle, an object of observation, or an element in a changing order. Through montage, repetition, text, found materials, and visual systems, I look at how a person is formed in relation to other bodies, spaces, and existing images. My works hold states of transition: between movement and stillness, belonging and displacement, visibility and neglect, the body and its social reading.