Untitled 2018

Curator: Here we have an Untitled drawing by Alevtyna Kakhidze, created in 2018, using pen on paper. Editor: My initial reaction is of stark contrasts. The left side is chaotic, even apocalyptic, with scribbled colors and figures. The right is almost clinical, reduced to simple, sparse outlines of figures documenting events. Curator: That's astute. Kakhidze's work often operates within the realm of social realism, commenting on political realities. Given its creation date, it’s likely referencing events surrounding the conflict in Ukraine and the role of documentation. The contrast you noted becomes all the more meaningful when placed in this context. Editor: Exactly! The left scene has what appears to be an injured group around a truck— inscribed with 'Berkut'. Above them, almost religiously positioned are additional hurt figures, around the haloed figure, possibly suggesting medical staff and humanitarian workers. Yet its rendered almost childlike with flames scribbled, a raw emotion in its making. Curator: "Berkut" of course, references the Ukrainian special police force, notorious for their violent crackdowns. It highlights a painful event from contemporary history that directly impacted the cultural identity of many Ukrainians and Kakhidze herself. I see this piece speaking to the tradition of social documentary – however here we are shown the stark contrast of personal feeling and historic realities. Editor: Absolutely, the act of documentation itself, as portrayed in the figures on the right with their phones, it plays such a crucial role in shaping historical narratives and calling into question the ethical issues. The composition, by being split into two images, makes us see and feel the chaos, but in turn, witness what seems like ‘silent onlookers’. Curator: The rough, almost raw pen strokes and the handwritten annotations embedded within the artwork add another layer. It evokes an immediacy, mirroring how social media enables citizen journalism. Kakhidze also prompts us to think of social hierarchies: who holds the power to capture these events, and who risks their safety to be visible. Editor: I'm left pondering the unseen victims, the voiceless amidst the media frenzy. This piece really compels us to interrogate the narrative being presented, and reflect on our own role in perpetuating or challenging it. Curator: Precisely. By situating these narratives and our consumption of imagery within broader ethical, political, and socio-historical frameworks, we begin to grasp a better awareness. This image leaves you unsettled and reflective on art as historical reference, social action, and emotional truth.