Untitled 2022

Editor: This piece is called "Untitled," created by Alevtyna Kakhidze in 2022. It seems to be a hand-lettered work, likely done with ink or marker on paper. There’s a raw, immediate feel to the message and the handwriting. What do you see in this piece, especially given its creation date? Curator: This artwork strikes me as a potent example of art serving as a direct response to socio-political turmoil. The text, rendered in what appears to be Ukrainian, is a commentary directed at Russians, referencing "Bayraktar," a type of drone that became symbolic during the conflict. It highlights a sense of defiance and resilience. How do you think the artist’s choice of a simple, almost ephemeral medium, impacts its message? Editor: I think the raw quality and the immediacy of the handwriting enhance the message. It feels more personal and urgent than a polished, printed statement. It reflects the kind of messages shared on social media, but materialized in a physical form. Curator: Precisely. Consider the role of text-based art in protest movements throughout history. Think of Jenny Holzer's projections, or the Guerrilla Girls' posters. This piece connects to that lineage but is distinctly Ukrainian and contemporary. It underscores how art can be both a weapon and a balm in times of crisis, shaping public opinion and providing a voice to the voiceless. It raises an important question: what responsibility do artists have in representing and responding to conflicts? Editor: That’s a powerful way to look at it. I never thought about the historical connection of text-based art in this context. It gives a totally different appreciation for it. Curator: Indeed. By examining the intersection of artistic expression, socio-political context, and historical precedents, we gain a deeper understanding of art's capacity to challenge, provoke, and inspire change. It encourages us to critically examine the public role of art. Editor: I think this piece does all that by being succinct and thought-provoking.