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Alexandre Nitzsche Cysne

@nitzsche_cysne

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From 🇧🇷 based in 🇫🇷
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2025 | old body, naive spirit by @nitzsche_cysne

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5 days ago

Currently showing the piece “Altar” at the exhibition “Hypothèse de lecture” in the former library of Trinità dei Monti, in Rome.
The exhibition runs through November 7.

Thank you @gaiabobo @teresaranchino @villa_medici @trinitadeimonti @societadelleapi @bhmpi @contemporalis.fr.it @roma

Alongside great artists

@alberteagerskov @edoardo_aruta @charlie.aubry @alixboillot @dariocarratta @crr_valeria @giulio_catelli @henri.cht @taiss_cherkasova @bbmalinconia @max.coulon @nefandissima @annbarbosanna @federicadipiet @marcoemmy @marco__eusepi @elisa_florimond @clediafourniau @pierreg666 @lucagrechi @carlaconfess @ruoxijin_ @charlie.jouan @amalia.laurent @giuseppe__lo_cascio_ @g_making @matissemesnil @paulfmillet @diegommirabella @pietrooom @lulunuti @flavio__orlando @francesca.pionati @andreapolichettix @valentine.prissette @alexander_r_iii @_lucaresta_ @balthazarstern @vasteprogramme

altar, 2026
(part of the “Olaria” series)
leather (from found balls) and sewing
82 x 148 x 12 cm

ph: Daniele Molajoli taken in Trinità dei Monti by @nitzsche_cysne

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21 days ago

descarrego, 2026
copper-plated aluminum and iron (pastry molds and kitchen utensils) on brass plate
100 x 120 cm

piece exhibited in my solo show « sonho de valsa » at @centralgaleria

ph: filipe berndt by @nitzsche_cysne

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18 days ago

commendation, 2024
(part of the « olaria » series)
leather and plastic (from soccer balls) and sewing
71 x 65 x 3 cm

ph: @estudioemobra by @nitzsche_cysne

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25 days ago

refuge, 2026
leather (cartridge belts) and wooden structure
72 x 73 x 58 cm

« refuge » features leather cartridge belts whose weaves evoke a cardboard edge texture or a library of books, and the structure, which alludes to an animal’s head, exposes the violence inherent to the material. The arrangement of the belts emulates the head of the prey, in a gesture that blurs the line between shelter and trap. What appears to offer refuge to the image of the helpless beast is revealed, in truth, to be a trophy symbolizing its conquest. The work embodies the extremes of a dual nature: the one that protects and the one that blurs the boundaries between formal rigor and the illusion of figuration.

entry by @toscano_yago

ft: filipe berndt

« refuge » dispõe cartucheiras de couro cujas tramas remetem à textura do papelão ou a uma biblioteca de livros, mas a estrutura que alude a uma cabeça de animal expõe aviolência inerente ao material. a forma disposta do couro emula a cabeça da presa, num gesto que confunde abrigo e armadilha. o que parece dar refúgio à imagem da fera desamparada revela-se, na verdade, um troféu que figura a sua conquista. a obra encarna os extremos de uma pele dupla: a que protege e a que dissimula as fronteiras entre o rigor formal e a ilusão das figurações.

verbete por @toscano_yago

ft: filipe berndt

agradecimentos especiais ao @atelie.artedeobra by @nitzsche_cysne

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a month ago

Retour sur les artistes du 69e Salon de Montrouge : Alexandre ✨ @nitzsche_cysne by @nitzsche_cysne

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a month ago

last 2 days to see my solo show « Sonho de Valsa » at @centralgaleria in São Paulo

the gallery will be open today from 10h to 19h and tomorrow from 11h to 17h.

critical text by @clarissssa_diniz

ph: filipe berndt by @nitzsche_cysne

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a month ago

céu de boca, 2026
plastic and brass (ashtrays)
23 x 15 x 2.5 cm

“céu de boca” moves between
anatomical form and waste material: on one hand, the ashtray made of brass that mimics the palate; on the other, the plastic ashtray salvaged from a cracolândia* in São Paulo, whose burn marks guard many mouths (bocas* in portuguese) that leave their embers there, together constructing the opacity of this symbolic sky. The juxtaposition of these objects reveals that the city’s taste is bitter: the céu de boca (sky of mouth), which should be the upper limit of taste, becomes the most severe point of suffering in urban life.

cracolândia - a prominent open-air drug market and scene of concentrated substance abuse located in downtown São Paulo, Brazil, active since the early 1990s

boca - in portuguese, in addition to its traditional meaning, which is mouth, the word « boca » refers to a place where illegal drugs are sold.

piece on view through September 19 at @centralgaleria

entry by @toscano_yago

ph by filipe berndt

céu de boca, 2026
plástico e latão (cinzeiros)
23 x 15 x 2,5 cm

céu de boca transita entre a forma
anatômica e a matéria residual: de um lado,
o cinzeiro que mimetiza a abóbada palatina; de outro, o cinzeiro de plástico resgatado da cracolândia, cujas marcas de queimadura dispõem as múltiplas bocas que ali depositam suas brasas construindo, juntas, a opacidade desse céu simbólico. a
justaposição entre os objetos revela que o
paladar da cidade é amargo: o teto da boca, que deveria ser o limite superior do gosto, torna-se o ponto de afecção mais grave da vida urbana.

obra em exibição até 19 de setembro na @centralgaleria

verbete por @toscano_yago

ft por filipe berndt by @nitzsche_cysne

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a month ago

flock, 2026
butterfly clasps for brooches and market tent cover (salvaged)
220 x 362

“Flock” evokes the choreography of
starlings, whose flapping wings produce a
symbolic wind, representing an
intercontinental movement across the surface of the artwork. The flock is materialized by 8,600 brooch pins arranged on a market tent cover, a surface that bears the marks of use and warm tones
intensified by oxidation, which
allude to Brazil’s tropical region. The mistral,
a cold, dry wind from southern France,
contrasts with the industrial base, causing
the extremes of the two countries to
converge under the gravity of everyday life,
produced by the poetry of the winds.

piece currently on view in my solo exhibition “Sonho de Valsa” at @centralgaleria through September 19.
critical text by @clarissssa_diniz

ph: filipe berndt

revoada, 2026
feixos de broche e cobertura de barraca de feira (material encontrado)
220 x 362 cm

« revoada » evoca a coreografia dos
estorninhos, cujo bater de asas produz um
vento simbólico, figurando um
deslocamento intercontinental na superfície
do trabalho. o bando é materializado por
8.600 tarraxas de broche dispostas sobre
uma lona de feira, superfície que guarda as
marcas do uso e os tons quentes
intensificados pela oxidação, os quais
aludem à zona tropical brasileira. o mistral,
vento frio e seco do sul da frança,
contrapõe-se a base industrial, fazendo
com que os extremos dos dois países se
encontrem sob a gravidade do cotidiano,
produzida pela poesia dos ventos.

obra presente em minha exposição individual na @centralgaleria até dia 19/09.
Texto crítico por @clarissssa_diniz

ft: filipe berndt by @nitzsche_cysne

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a month ago

A primeira individual de Alexandre Nitzsche Cysne na Central reúne trabalhos recentes criados entre França e Brasil a partir de objetos recolhidos em seus trajetos urbanos. Retirados do desuso, esses materiais ganham sobrevida poética ao integrar assemblages de notável complexidade. A mostra evidencia o compromisso estético-político das apropriações e deslocamentos operados pelo artista e sua relação coreográfica com os materiais — análoga à valsa — que instaura novas dinâmicas de convívio, encurta distâncias e radicaliza suas diferenças políticas e sociais. A partir da ideia de “animismo afetivo”, Cysne elabora uma rede de relações interpessoais que permanece na superfície dos objetos, procedimento ético pelo qual persistem as histórias e memórias particulares a eles associadas.

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Alexandre Nitzsche Cysne’s first solo exhibition at Central presents recent works created between France and Brazil using objects collected during his urban journeys. Rescued from obsolescence, these materials are given a poetic new life as they become part of assemblages of remarkable complexity. The exhibition highlights the aesthetic and political commitment behind the artist’s acts of appropriation and displacement, as well as his choreographic relationship with the materials — analogous to a waltz — which creates new dynamics of coexistence, shortens distances and radicalizes their political and social differences. Based on the concept of “affective animism”, Cysne constructs a network of interpersonal relationships that persists on the surface of objects — an ethical procedure that preserves the personal stories and memories associated to them.

vídeo: renato maretti @rmaretti by @nitzsche_cysne

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a month ago

In ‘Sonho de Valsa’, Alexandre Nitzsche Cysne’s first solo exhibition at Central, the materials and sinuous visual compositions choreograph the visitor’s journey through the exhibition space, creating dynamics with the artwork that go beyond those instigated by the gaze.

The relationships established with these materials concern the transitory nature the artist introduces through his practice of collecting and, above all, the flow of sensibilities emanating from their surfaces, thereby establishing new methods of circulation and existence for them.

“When he collects and manipulates materials and objects, Cysne reorganizes their relationships, moving them between different economies and performing a kind of contemporary alchemy that transmutes not only their appearances but, most importantly, the conditions under which we all exist and circulate”, writes Clarrisa Diniz in her critical essay for the exhibition.

‘Sonho de Valsa’ remains on view at Central through September 19.

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Em “Sonho de Valsa”, primeira exposição individual de Alexandre Nitzsche Cysne na Central, os materiais e as composições visuais sinuosas coreografam o percurso pelo espaço expositivo, produzindo outras dinâmicas com a obra de arte, para além daquelas instigadas pelo olhar.

As relações estabelecidas com esses materiais tratam do caráter transitório operado pelo artista em suas práticas de coleta e, sobretudo, do trânsito das sensibilidades a partir de suas superfícies, instituindo-lhes outros modos de circulação e existência.

“Quando coleta e manipula materialidades e coisas, Cysne reorganiza suas relações, deslocando-as entre diferentes economias e operando uma espécie de alquimia contemporânea que transmuta não só suas aparências, mas principalmente as condições sob as quais todos nós existimos e circulamos”, escreve Clarrisa Diniz em seu texto crítico para a mostra.

‘Sonho de Valsa’ segue em exibição na Central até dia 19 de setembro.

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Tropeço, 2026
Plastic (from a soccer ball), fiber (decorative vase mold), and aluminum foil
101 x 36 x 36 cm

Ph: Filipe Berndt by @nitzsche_cysne

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2 months ago

In “Inheritance” (2026), Cysne presents a collection of “urban crystals” composed of streetlights, bicycle reflectors, vehicle headlights, and sirens — found objects that, in some way, preserve the city’s forgotten lights. The artist recovers from the landscape the anonymous light that consumption leaves behind, recognizing that the city also returns a common good.

By transforming waste into heritage, he observes a subtle and collective sense of belonging in what shines among the discarded objects. The use of the French term “récupéré” (recovered) gives a poetic dimension to the work’s appropriative nature, suggesting that we only recover what belongs to us in the world.

“Sonho de Valsa” runs through September 19 at Central.

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Em ‘Inheritance’ (2026), Cysne produz uma coleção de “cristais urbanos” composta por faróis, refletores de bicicleta, lentes de veículos e sirenes – materiais encontrados que guardam, de algum modo, as luzes esquecidas da cidade. O artista recupera da paisagem o brilho anônimo que o consumo abandona, reconhecendo que a cidade também devolve um bem comum.

Ao converter resíduos em herança, observa um pertencimento sutil e coletivo naquilo que reluz entre os descartes. O uso do termo francês “récupéré” (recuperado) confere uma camada poética ao caráter apropriativo do trabalho, sugerindo que só recuperamos aquilo que, de alguma forma, nos pertence no mundo.

‘Sonho de Valsa’ segue em cartaz até 19 de setembro, na Central.

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[1-5] Alexandre Nitzsche Cysne
inheritance, 2026
Plastic and glass (sirens, bicycle and motorcycle reflectors, vehicle headlights); fabric (from the ceiling of a children’s playhouse), and boards (from a construction site)
[found materials]
110 x 270 x 14 cm

ft [ph] filipe berndt by @nitzsche_cysne

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a month ago