Untitled 1993

Editor: Here we have an Untitled acrylic painting from 1993 by Georgi Kovachev. It has a real sense of energy; the sharp angles and vibrant colours create this almost fractured landscape. What do you see in this piece, from your perspective? Curator: Well, this "fractured landscape", as you put it, immediately brings to mind questions of representation and reality. Landscapes are never neutral; they are always seen and depicted from a specific point of view, often reflecting power dynamics. Think about who owns the land, who benefits from it, and whose perspectives are excluded. Editor: That’s a really interesting point. I hadn’t considered the idea of perspective as a power dynamic. The landscape, with its flattened planes, reminds me of early modernist painters grappling with industrialisation's impact on our connection to nature. Curator: Exactly! It could be interpreted as a reaction against traditional, romanticized landscapes, critiquing the ways in which nature has been exploited and commodified. Considering the post-communist context in which this work was produced, could we see it as a commentary on the reshaping of Bulgarian land and identity? What does it mean to claim a landscape, both artistically and politically? Editor: So, the painting could be seen not just as an aesthetic expression but also as a statement on socio-political realities? I'm used to landscape painting having natural, even organic, colour schemes and themes. Curator: Precisely! And consider the use of those colors. They may evoke something natural but also suggest the artificial, bringing up this dialogue. It's also essential to ask ourselves: What and who are these vibrant landscapes *for*? Editor: I see, that completely changes my understanding of the painting. It's much more than just a landscape; it's a loaded cultural artifact. Curator: Indeed. This reminds us that art isn't created in a vacuum; it's deeply intertwined with the world around us. The next step is considering who holds those artistic conversations and which artistic languages become "accepted".