Pedro Zylbersztajn (1993) is an artist and researcher who creates drawings, texts, performances, sounds, installations, and videos that aim to provoke subtle shifts in the protocols that sustain everyday life.

Among his activities are exhibitions in institutions and galleries such as Americas Society (New York), Palais des Beaux-Arts de Paris, la_cápsula (Zurich), casamata (Rio de Janeiro), Maputo Fast Forward (Maputo), Musée d’Art et d’Histoire (Geneva), CAN (Neuchâtel), Art & Essai (Rennes), and RGR (Mexico City), as well as participations in the 2nd FRONT International Triennial (Cleveland, USA, 2022) and the 12th Bienal de Arquitetura de São Paulo (2019).

He was an artist-in-residence at Pivô (Brazil, 2020), Villa Sträuli (Switzerland, 2023), coleção moraes-barbosa (Brazil, 2024), and Fundación Mar Adentro/Institute for Postnatural Studies (Chile, 2025). In 2023, he created a permanent commissioned installation for the Pivô library. In 2024, his profile was published by Art in America (USA) as one of the 20 Emerging Talents of the year. He was a fellow in the Art by Translation program (France, 2019–2021) and holds a Master’s degree in Art, Culture, and Technology from MIT (USA).

The drawing cinco perdas em dois segundos (2025) stems from the artist’s ongoing practice of observing how the act of inventorying, classifying, and enumerating objects is represented and applied in various archival and informational infrastructures. From this, Zylbersztajn habitually emulates such practices in increasingly absurd or intangible situations. It is an almost silent work, aware of its own limitations, and which, by attempting to reduce an immeasurable sensation into visual and informational abstractions, seeks to articulate the constraints of other systems that rely on the same mechanisms.