Untitled 

Editor: So, this is an untitled painting by Tiberiy Szilvashi, and it appears to be acrylic and oil on canvas. The textures are very thick and layered, creating a heavy and intense atmosphere. The colors are predominantly dark browns and grays with a few vibrant accents of red, white and pink. How do you see this work functioning within a broader art historical context? Curator: It immediately evokes the legacy of Abstract Expressionism, specifically figures like Rothko or Kline. However, it pushes beyond gestural abstraction, embracing a physicality more akin to Matter Painting. The heavy impasto becomes almost sculptural. To truly understand Szilvashi's "Untitled," we need to consider the institutional forces at play in promoting and defining Abstract Expressionism in the post-war era. Editor: Matter painting? Curator: Yes. It really gained traction in post-war Europe. Think of artists experimenting with texture and substance – like Fautrier, Dubuffet, Burri… they reacted to trauma by engaging the material realities, embracing imperfection and the physical decay mirroring a world shattered by conflict. Do you notice anything similar here? Editor: Yes! It's like he’s building something up, and layering experiences. Curator: Precisely. So, it also asks, how does this relate to Ukrainian contemporary art? How do geopolitical events impact its reception, and how does the institutional support (or lack thereof) shape Szilvashi's visibility on a global stage? Editor: So the art world we see today also actively plays into our perceptions of works from the past. I’ve really never considered that interplay before. Curator: Absolutely. This painting’s meaning isn't just inherent in the canvas; it’s actively shaped by these forces and our understanding grows by questioning them.