Untitled 

Editor: Here we have an untitled painting, done with acrylic and what looks like impasto technique by Vladimir Dimitrov. I find it incredibly vibrant and visually overwhelming! So many different geometric shapes coming at you! What do you see in this piece from a historical and cultural point of view? Curator: I see a powerful statement on the nature of abstraction and its historical context. Post-war art, especially abstract expressionism, rejected traditional representation. This piece is so evocative because it is completely absent of it, rejecting the structures and representational strategies imposed by society at large. Editor: That makes sense! What do you mean, then, about 'rejecting structures'? Curator: Abstract expressionism often emerged during periods of social and political upheaval, reflecting a desire for individual freedom and self-expression beyond institutional constraints. Can you see this here, a sort of freedom? The impasto technique might emphasize this by drawing attention to the physicality and performative nature of the work. Editor: Definitely! It's a freedom from any obligation to depict something recognisable. All the art exists simply on the surface level and in the technique! Curator: Exactly! It is, in its own way, almost confrontational. Consider its place in a gallery space – how does this assertion of artistic liberty challenge traditional power structures within the art world itself? Editor: Hmmm, it sort of demands attention without conforming to expectations... I hadn't considered that it's also pushing against the conventions of display itself, in the right context. Curator: Precisely! What seemed like a random abstract now becomes deeply enmeshed within institutional politics! It allows for interesting reflection on history. Editor: Thank you for elaborating; now I understand that abstract paintings may be about more than surface appeal. Curator: My pleasure! I've certainly learned much through your own thoughts too!