tatarczuk +

Maturity is beautiful but no more than innocence
oil on canvas, 2025

Kateryna Aliinyk’s project emerges as a feminist intervention into an existing work by Waldemar Tatarczuk. By creating her own painting over the work of an established artist and curator, Aliinyk does not displace the original image; instead, she complements it, preserving its initial style. She destabilizes the role of the artist — the master, the more experienced and renowned figure — while striving not to erase most of the original. The work thus becomes a ground for discussing authorship, the role of the artist, the curator as a key figure, masculinity, power, and authority in the art field. What constitutes an artwork, and what is its original form? Tatarczuk’s work becomes material from which a new artistic language is built here and now. By giving his work to Aliinyk, Tatarczuk rethinks his own role as an artist, posing an open question about what exactly an artist is capable of giving, transmitting, or offering to others.

Kateryna Aliinyk born 1998, Luhansk, Ukraine. Since 2016, she has lived and worked in Kyiv. She graduated from the National Academy of Fine Arts with a master’s degree (2021). She also studied contemporary art at the Kyiv Academy of Media Arts (2020) and ‘Positions of Artists’ within the experimental self-educational project The Method Fund (2020). Her works have been presented at numerous exhibitions including ‘From Ukraine: Dare to Dream’, part of the official programme accompanying the 60th Venice Biennale (2024); ‘Our Years, Our Words, Our Losses, Our Searches, Our Us’ (Jam Factory Art Center, Lviv, 2023); Kyiv Biennial (2023 and 2025); Biennale Matter of Art Prague; ‘Between Farewell and Return’ at the Mystetskyi Arsenal in
Kyiv. She was the recipient of the First Special PinchukArtCentre Prize (2025).