The work of Alexis Minkiewicz (Villa Cañás, 1988) unfolds as a poetic and political exploration of the signs that shape public space, urban memory, and the reconfiguration of identities. His practice—which encompasses sculpture, drawing, and installation—moves away from linear narratives to construct a sensory archive where nineteenth-century monuments, century-old trees, public and private institutions, and everyday presences that form part of his affective universe coexist.

At the heart of his work lies a critical reexamination of urban space and its symbols: from drawings of monumental gum trees that form part of the construction of the national landscape to pieces that engage with established icons of power, revealing their ideological layers, fissures, and silences. These material and symbolic drifts challenge established notions of bodies and their inscription in the city. Minkiewicz subverts the academic canon with amorphous bodies, ephemeral gestures, and anonymous journeys.

His queer gaze does not illustrate an identity, but rather challenges the visual regime that determines who can be seen and how. He is interested in the margin, the fold, the furtive encounter; that which escapes surveillance and opens up the possibility of imagining other ways of inhabiting. More than a unified body of work, his practice is a living body in constant transformation.

Bio

Sculptor. He was born in 1988 in Villa Cañás, Santa Fe, Argentina, and grew up between Avellaneda and Lanús, Province of Buenos Aires. He studied at the National University of Arts (UNA) and privately with Ernesto Ballesteros. He also furthered his skills by working as a studio assistant in for Miguel Harte, Luis Terán, Fabián Bercic, Diego Bianchi, Nicanor Araoz, and Adrián Villar Rojas.

His first solo exhibition, El Doble es Uno, took place in 2013 at Aldo de Sousa Gallery in Buenos Aires. Later on in 2015, he was selected to participate in the residence at Port Tonic Art Center in Les Issambres, France, and the Haroldo Conti Grant in Buenos aires where he attended workshops with Silvia Gurfein, Eduardo Basualdo, and Tulio de Sagastizábal. He was also invited by the University of Lodz, Poland in 2017 to exhibit his work on the forests of Bialowieza. Among his main exhibitions, he took part in the Biennial of Bahia Blanca (2014), the Biennial of Santa Cruz de la Sierra, Bolivia (2016), the Biennial of Curitiba (2019) and BIENALSUR, the International Contemporary Art Biennial of the South (2021). For the latter, he presented the piece La piedad de las estatuas [The Piety of Statues], at the historic downtown site in Buenos Aires, Manzana de las Luces, curated by Diana Weschler and Leandro Martínez Depietri. He also exhibited his work at Universidad Di Tella (2016), Centro Cultural Recoleta (2016) and was invited to present Rep[úb]lica, the inaugural piece of the Museo de Arte Contemporáneo de La Boca, MArCO, curated by Leandro Martínez Depietri. In parallel to the exhibition, Fundación Tres Pinos published his first book with essays by Malena Nijensohn, Juan Tauil, and Javier Pelacoff.

In 2021 he was selected in the public sculpture contest held by the National Ministry of Culture to create the work Possible portrait of María Remedios Del Valle by Louis Yupanqui. In 2022, he presented Erótica Laboral [Workplace Erotica] at the inaugural exhibition of the Enlace AP art space in Serra de Daró, Baix Empordá, in the Autonomous Community of Catalonia, Spain, curated by Leandro Martínez Depietri. In 2024, in collaboration with curator Marina Aguerre, he presented Salto al Potro at Galería Aldo de Sousa, an exhibition featuring his most recent works. He also further developed his work with marble during his residency at Mantica in Carrara, Italy, between 2024 and 2025.

He lives and works in Barracas, Buenos Aires, Argentina.