De toutes parts 

Editor: So, this is "De toutes parts," an acrylic on paper piece by Pierre Alechinsky. There’s a central, almost brutal black-and-white image framed by this riot of color. It feels really contrasting, like two different artworks occupying the same space. What do you see in it? Curator: It's that tension that truly grabs me. Alechinsky, often associated with the COBRA group, frequently explored these juxtapositions. It's not just contrasting colors but also the controlled versus the chaotic. How do you think the central image, that stark black and white, speaks to the exuberant border? Is it dominating or being swallowed? Editor: I think it’s fighting for dominance, trying to assert some order onto the surrounding chaos. Maybe the central image represents a kind of established power structure? Curator: Interesting. And consider that COBRA was actively rejecting the established art world and its norms post-World War II. Perhaps this contrast isn’t just aesthetic, but a visual representation of the struggle between oppressive forces and the vibrant, untamed energy of resistance? Look at those almost cartoonish elements. Do they remind you of anything? Editor: Yes! There’s almost a comic book sensibility, a graphic novel kind of aesthetic. A way of making complex ideas more accessible? Curator: Precisely. And accessibility in art can be a very powerful political statement. Alechinsky could be employing these seemingly simple forms to engage viewers in a conversation about power dynamics and societal constraints. This isn't just a painting; it’s a battlefield of ideas. Editor: I never thought of it that way, but now I see how those playful, almost naive shapes can carry such weight. Thanks! Curator: And thank you. It’s refreshing to consider how even seemingly abstract forms can reflect our shared struggles and aspirations.