for me, one of the most valuable poems in general in all poetry, i love it very much, please read it, the water in the river gurgles coolly, the shadow of the mountains falls in the field, and the light goes out in the sky, the birds are already flying in dreams, and the janitor is with with a black mustache, stands all night under the gate and scratches the back of his head with dirty hands under his dirty hat, a cheerful cry is heard in the windows, the stamping of feet, and the clink of bottles, the moon and the sun turned pale, the constellations changed shape, the movement became viscous and time became like sand, and the janitor with blacks mustache, stands again under the gate and scratches the back of his head with dirty hands under his dirty hat, a cheerful scream, the stamping of feet, and the clink of bottles can be heard in the windows. amazing, dmitry, thank you very much for the conversation, this was a must-read podcast, my guest was the writer, poet and playwright, dmitry danilov.

we discussed danil kharms and his creative heritage. hello, dear friends, this is the podcast life of the remarkable, with you i am its host, writer, alexey varlambov. this year marks the 100th anniversary of the day. and that's what we're talking about we will talk with elena kominskaya, the curator of the exhibition dedicated to weisberg, which is open at the pushkin state museum of fine arts, but before we talk about weisberg’s paintings, before we look at the paintings belonging to his career, i would still like to raise an issue related to his biography, for me as a professional. biographers, this is very

interesting, because i honestly admit, i knew little about this artist, but when i began to prepare to look at some materials, i was of course amazed by his fate, by the way, do you know if there really is a biography of him, a description of his life, but he has a short autobiography written by himself, one sheet in size, a4 everything, everything, everything, a fundamental monograph was not written by anna yurina chudetskaya , which was published in 2018, and this is the most detailed biography of weisberg, an analysis of his work, you can turn to them like an encyclopedia and everything will be found there. so, look, he was born in 1924, in the family of a soviet freudian. yes, his father was a psychologist, teacher, follower of freud in the soviet union, yes, he tried to somehow propagate these ideas, and apparently this affected the fate of the child. this is what i read about him, tell me, is it true or not that in 1936, when the war began in spain, a twelve-year-old boy runs away to this war, he is caught. almost somewhere in

odessa, is this true? yes, yes, it is. this is, in fact, a rather tragic story, because it was that very period, adolescence, when his mental illness manifested itself. and it happened in the end the thirties, and he basically carried it throughout his life. his artistic creativity, his daily practice, very strict self-discipline, they became a way out of this mental illness, but his escape to spain, which in general, was like that.

age was a child, and from there he leaves for the city of kansk, where his parents come to him, they spend several years in evacuation in magnitogorsk until the year forty-three.

mature years, the seventies, when weisberg became famous for his white canvases on white, he argued with him, to say, this is such a conceptual thing, it’s all a tribute to fashion, on this they disagreed, but at the very beginning, and in the forties, he replaced his father at some point, because he was completely lost when he arrived in moscow, and his occupation of painting, and he writes in his autobiography that he began to engage in painting in the thirty-fifth year, respectively...

the year he was accepted into the brain without education, nevertheless, without education, it was necessary to prove , yes, in fact he is in '47 year he entered the institute, but was not accepted, was not accepted precisely because his teachers were arrested, but he passed all the exams, so we are showing these works at our exhibition, which in general is quite worthy of an applicant to the sulkovo institute, but nevertheless, so after some time, having already gone through the lessons of the passion for impressionism, post-impressionism, i learned the lessons. and weisberg, willy-nilly, joins the so-called other art or unofficial art, of course this has never been officially stated, but nevertheless he is with them with this circle of these artists, and this is, first of all, the leonozov group, this is a circle of writers, poets, philosophers, sabgir,

hollin, yes, yes, yes, absolutely right, yes, he is just friends with them, exhibits at one-day exhibitions , there in the apartment of alik ginsburg, for example, with whom he is very friendly, and... he was connected with him through his brother, cousin yudin, that is, these were such long-standing, strong youthful connections that were very natural for him, were not something that he was striving for, but he was striving, of course, to somehow establish himself in official, so to speak, organizations, because well, he lived at the time in which he lived, it’s difficult for us to imagine now, that in order to feel relatively independent, you need to be associated with any creative union, but here in the sixty-first year this happened, it allowed him to exhibit from time to time at professional shows, he took this very seriously, his works were not always shown favorably, people who saw them in those years of the tens, seventies, eighties speak about this

they needed a special light, they needed a special one, not everyone can withstand such a neighborhood, you know, we are, of course, talking about the works of the late sixties, seventies, these... this is ityut, a bush from 1947, that is, he is still very young, he very young, this is the summer of forty-seven, when he is preparing to enter college, we have a whole room dedicated to this period, here you can already see his first such tests regarding chromatic layout - colors, in principle, this is a thing of the same period, this too, this is also a still painting. which served to submit,

so to speak, his portfolio to surikovsky, so he left there was no such word, well, not a portfolio, yes, a series of works, okay, and this production is, the production means, a still life, yes, it, of course, echoes the tradition of the moscow school of painting, which is rooted in the bobnovoletsk tradition; in essence, here we see the lessons of ivashov musatov, the lessons of mashkov and osmyorkin, which one way or another were. the entire brock was owned by that time, this is a later still life, this the end of the fifties, the mid -fifties, here we see, of course, this is absolutely the fifty-sixth year, here it is signed, and we see such a riot of color, a couple more years, the artist will no longer be interested in this contrast, he will focus on some more complex combinations, but here in general there are signs of the times, this wonderful bakelite lamp, the sardines laid out, the eggs so generally simple. which one way or another served as the basis for his painting experiments, this is a completely different work, on

i’ll allow myself to linger on it a little longer, if possible, but what year is this? this is 1958, yeah, and in front of us is a wonderful girl, young lady, anna blinova, and the wife of a famous collector, orientalist igor sanovich, a legendary collector, now the work is in the collection of a famous moscow physician, mark... kurtser, he personally knew anna blinovo, she treasured this portrait very much and she left a most interesting memory of how she posed, so she said that she had to come to the artist, there were about twenty sessions in total and turn into an apple for 45 minutes, you couldn’t move your eyebrow, scratch your nose, think about something abstract, you had to focus on the moment that the artist was actually experiencing, and he was very strict with his models, with himself...

in general in his heritage and from the collection of the pushkin museum, also here, if in the costume and even this incredibly rich palette is visible, then in the white background of the wall it is practically gone, but nevertheless, this complex white, it also decomposes into thousands of tiny cross bridges , which vibrate. i would like to see our life reflected in literature with maximum truthfulness. bekov writes that how lieutenant ivanovsky died

ultimately played a huge role in the victory over nazi germany, because there were millions of such unknown soldiers. literature is a selective art, i can read it, i may not know the existence of this book, and cinema is still a miracle, you see, shipitka made a parable, his work is quite realistic, about the choices that a person makes, and here she is translated this humanistic interpretation into a religious one. the testimonies of those who survived the war were as truthful and honest as possible, if not every generation, then every 30-40 years, one must, of course, turn to bykov, this is a writer who raised the eternal questions of the existence or disappearance of man in man, on the centenary of vasil bykov's birthday, premiere, tomorrow on

the first. the personal situation that has developed between us, the situation is now the same: war, to beat the enemy , to fulfill a goal in front of the fatherland, this is a letter in abc and morse code, i tried to study the textbook at home, thank you, but today we see each other for the last time, to our misfortune, the revolution has obscured the future from us, darkness is approaching, i order the officers to surrender their weapons, we

have nowhere to wait, and to hell with them, we have always drunk the enemy and will continue to drink, unimportant news , gentlemen, the reds are approaching omsk, may the admiral help us, on friday on the first, in memory, anastasy zavorotnyuk, we remember a wonderful... person, an amazing woman, colleague, friend. anastasia zavorotnyuk, born in seventy-one, she didn’t feel very well, that’s all they thought that it was just a nerve that had been damaged, they went to get checked and found out, well, that is , you can almost say yes, on my birthday, i noticed that a new one appeared on her chest, a new pendant mouth,

i turn around and say, chernishev, she tells me , no one knows this, i say, but i already know. “you need to buy a burqa, here it is, if you transported it somewhere, took it somewhere, then it was all in the burqa, doctors, nurses, it didn’t turn out anywhere, i wanted to come up and say, this can’t be, get up when the creepy ones appeared in the morning, monstrous blatant publications about a lot of makeup, i wanted to give to someone who didn’t exist at all, a person can live after death only in art. only it is capable of defeating death on saturday on the first floor, here we find ourselves in 1962, imagine what kind of time this is, and this is when khrushchev, this is an exhibition, this is work from that exhibition, yes, on the second floor, he saw it, but he left it without his

malicious comments, on the second floor of the arena, this work was demonstrated so... they were clearing the way, and in general it was very difficult to imagine now how difficult there was no need to show oneself, there were no galleries, there was no art market system, museums did not exhibit contemporary art, in fact , with rare exceptions, well, maybe foreign, by the way, let’s return to this, because the pushkin museum played a huge role in the fate of vseberg by exhibiting modern european painting , so this work was in the sixty-second year in a very difficult time,

and what is depicted here are oranges in black pieces of paper, i don’t remember anymore, geometry, this was also, of course, such an experiment, these are already relatively wisberg won’t have any colorful, bright things in the future, this is like this... i’ve definitely read about this, yes, this is a famous institute, such people worked there, the birth of the moscow-tartov miotic, of course, votman, nikitelich tolstoy, there and such, there

there were such minds, they invited, vyacheslav avselovich ivanov recalled in an interview something wonderful about how the symposium took shape in general, they were interested in how structurally, how signs behave in the pictorial system, and weisberg. he writes about this that the mathematician boris helped him otarov, an artist, little known, but now i hope he will do more with him, so he laid out this theory for him in the form of a diagram, but this is only an assumption, this diagram is reproduced in life-size, as it was reproduced. in the second year you can see it in the halls, it is called types of coloristic perception, it one way or another - reflects - the theory that

weisberg approached his painting practice, but has not yet completely completed it, so he was one of the first, there are three in total such - a way of perception, this applies to both the history of painting and the artist’s perception, the first is a sensory signal when you see color and shape, and this is matis, yeah. weisberg’s thoughts, the second is such an analytical signal when the form is decomposed, well , if i ’m reproducing it very roughly now, it is decomposed like sizan’s into a shark cone and a cylinder, and interpret all of nature through a ball, a cone and a cylinder, the words of sezan, the words of sezan , yes, the last stage of perception is subconscious, this is what wesberg was striving for, who is what he in his sixty-second year he had not yet reached it, but to illustrate his fortune, he again turned to the late works of cezanne and the heights of the work of cintortu, well, all the old

masters of rembrent, whom he greatly appreciated as a painter, and as for the influence of french painting on weisberg and the artistic generation - this is a separate, very interesting story, here it is directly related to the pushkin museum, and, by the way, i wanted to ask, but he had paintings by all these wonderful painters, he didn’t go then, and he didn’t go anywhere, he didn’t graduate, he you were... in paris in 1984, but didn’t go there, that is, he saw everything in the pushkin museum, but i tried to find out where he saw van gogh, just found out today with my colleague, i think that he saw him while cleaning up at the museum of new western art, which was open until july of the forty-first year, that is , while he was still a child, a young child, yes, i think he was there, of course, what did you see in the reproductions, because let's say this bush that we started with, it echoes the bush from armitage vangogh collections. it is clear that this is a common pictorial motif, which many artists use in one way or another to begin their creative journey, but nevertheless there are quite a lot of rhymes there, and this is

an early thing, in the forty-seventh year, in 55 it opened in moscow, in the pushkinsky two famous exhibitions open in the museum, in may of the fifth year an exhibition from the collection museum opens, and the etino madonna, yes yes yes, in the fall of 55.

it was given over to another museum, the museum of gifts to stalin, when in fifty-five, well, a little early in fifty-four, they began to restore the museum's exhibitions, everyone remembered this as a discovery, yes, yes, but along with other discoveries that followed, and after 54, the thaw, here , well, this is also, of course, a separate story, but that was all very important phenomena that vesberg witnessed, vesberg came to the museum as a laborer to see up close... masterpieces of the old masters, impressionists, post-impressionists, and this was available, for some time, that the queues were incredible, the museum opened at

8, finished work at 12.

grigorievich was aware of all these wonderful events, that is, despite this hard time, yes, which he experienced in the forties, there was the arrest of a teacher, the death of his father, he did not withdraw into himself, he was very many imagine him as such a masket, his late painting, it seems to indicate that he isolated himself there, one can assume that he isolated himself in... his workshop, no, it was not so, he went to all the premieres, he had such a discerning taste in music, he lived nearby with conservatives, visited it regularly, was friends with poets and writers, of course it’s difficult for us now to restore his circle, but for example, he was one of the closest friends of nadezhda yacolina mundelshtam, he was also close to the school there, so the lionaz group, like me she said, a simple example,

the year sixty-four, i think yes... the moscow international film festival, the first prize goes to which film i don’t remember, 8 and a half the third year or the third, because in the sixty-four wesberg wrote a work quite like this well, for him, in principle, it already belongs to the next path, it is called, it was called a procession of 8 and a half, six columns, it is now in the israeli museum, in the collection of the israeli museum, and that was another deafening thing. the impression that this picture made on the artistic community is still, in general, if you rewatch the film, yes, then you, well, some things, this open narrative, the absence of a plot, the main character with whom they associated themselves everyone is an artist and well any creator, yes, well, here is one of the works, now we see, no, this is not it, but this is from the same period, when tell me, this is what we see here, what i see is little, this is also, this is also peculiarity of reproduction, here is a white all-bred, the so-called white on

white, yes. he didn’t really like the name white on white, he called it invisible painting, such an oxymaroon, which he really liked, he used to maronize one all the time and somehow that’s how he came to this, maybe it will sound pretentious, but it was search for harmony, there seemed to be no harmony inside, because mental illness overcame him from time to time, there was no outside, sixty-third year, this time is already a time of freezing, as yuri gerchuk said, and he is leaving gradually. from active, relatively active exhibition activities, he goes to the studio, so one of the rooms on arbat, where he lived, every morning turned into a white workshop, where there was only a setting of a white still life on a white background, consisting, as we see from such simple geometric shapes and stools where the model could sit, well, as a rule, the model appeared there later

in the workshop on the serene bulbar, at first... at first he works like this with valeurs, as you remember, valeur is a term from the art of the old masters, yes , this is such a tonal saturation of color and he breaks down the chromatic layout of color into thousands of units, he even kept a count of this, in fact, this report at the institute of slovenian studies, he dealt with exactly this,

but this chromatic layout, it was so detailed and so wide, what allowed works that now seem white and invisible to us to be done in color, and... that is, this is color work, there is underpainting, here there is ocher, here there is umber, which comes later, but it is simply painted with small kolinsky brushes, which completely makes invisible texture, he was interested in the pictorial surface, he was not interested in the plot, as we see these still paintings, they are devoid of any symbolism, here it’s as if you don’t consider some kind of painting, it’s often called metaphysical painting, it seems to me that this is a very superficial judgment, well as if maybe it explains something, but not everything... in our exhibition, the last two halls are dedicated to these late works, these are halls that are built from works of approximately the same size, as a rule , they tend to be square, this is a meditative passage ,

each picture is a portal into a special reality that captivates you completely. i understand that there are some strange things happening now, and once again i urge you to see this with your own eyes, because this is not a plot. things, these are all his steps on the path to that very harmony that can be created only on canvas, as he believed, there is no harmony inside, there is no outside, it is only on canvas, these are his words, and we quote him to the audience, but how did his contemporaries, colleagues treat him, what kind of reputation did he have absolute guru, he had students, in sixty years he begins to teach, by the way he begins to teach nothing. he left almost no records except for some work, yes, such

virgil was already there in the seventies, when there were more exhibitions in him, they saw such a spirit seer, they saw him in general, where is he was he exhibited at discussion exhibitions at first in georgian? small georgian, no, he exhibited at vavilovo, yes, that’s another story, at gruzinskaya too, but not so often, mainly in the exhibition halls of moskha on vavillov in group exhibitions, there were some apartment exhibitions, collectors loved him, he was in the collection of foreign ones, including, here is a well-known story, a very interesting one with - an envoy, not with an envoy, with the cultural attache of france, stepan tatishchev, a representative of the famous russian surname, who visited his workshop. acquired several works, and his assistant, she just completely fell in love with weisberg, collected a whole collection, in 1997 there was an exhibition of her collection in moscow, and all this, of course, attracted attention to him, these exhibitions at costakis,

for example, well, this there were exhibitions, he was part of the circle of artists that kastaki collected, so we have photographs, maybe we will even show them, where he is among other masters who came to him for his famous... the family came to russia shortly before the revolution and in the fifties and sixties he served at the embassy as, if i ’m not mistaken, a caretaker, a driver, in general, he observed life in the country, he was not

directly in the diplomatic corps, since diplomats, like we already know, but in the case of a statist, for example, they, of course, looked at art, visited flea markets, and he took a closer look and thus formed his taste, educated his eye... his eye allowed him to find masterpieces by lyubov popova, for example, yes, dig them up somewhere at the heirs' dachas, klyun and other artists. at the end of the seventies, he wanted to return to his historical homeland, and he was released, released only on one condition: that part of the collection would remain in the ussr, in the tretyakov gallery, now in the tretyakov gallery, as you know, there is a collection of works by castaki, there is a whole costa hall . he took part of the work and this allowed him to make the castakis museum his heir, where the russian avant-garde is also exhibited, and of course he loved contemporary artists, who actually saw him off, this is exactly the stage,

photography, and seeing off kastaki to greece, and this is also such a painting, the golins of mikhail eermina, this is the artist’s second wife, this is the second wife, she did a lot for popularization. in our country, she was the author of exhibitions, there were no curators, there were authors of exhibitions, organizers of exhibitions in the eighties, nineties, ana yurina chudetskaya was familiar with her, but with her help , a big gift actually came in 9 to the pushkin museum, it’s her a portrait of the late seventies, which, in principle , corresponds to that portrait concept, which the artist developed over probably the last 10-15 years of his life there, such self-absorption of the model is so meditative, absolutely iconography, it is characteristic of almost all portraits of this period and of course this... has become weisberg’s trademark, again i encourage everyone

to look with your own eyes, because here you can’t see that pictorial richness and absolutely ideal texture of the canvas, in this portrait you can see even if you see it live, of course, even the texture of the weaving of the canvas, that was also the goal an artist who - for quite a long time, achieved absolutely ideal some kind of pictorial combinations ... very delicate work, beautiful and the complete opposite of what we saw at the beginning of the present, yes, when the girl is young , look, he was very consistent in his search, so this is a kind of simple name, it’s very accurate, yes, which was invented by chudetskaya, it, in principle, explains the whole of weisberg, his path from color to light, through this chromatic layouts, through complex dialogue, self-analysis, he was constantly engaged in self-reflection. he wrote down his fortunes, he carefully documented what he

was doing, what he plans to do, all these materials, they were preserved, they are in the archive, and all this can be reproduced and you can see this kitchen, laboratory, it’s incredibly fascinating , in fact , there are few such artists who are distinguished not only by self-discipline, but also by such introspection, usually this is in general, probably the lot of poetic writers, they are artists, as it were introverts, as a rule. and he, for him, did his jewish nationality have any meaning? it’s hard to say, to be honest, i don’t have such information, but his first exhibition, his first personal one, was created in israel, thanks to him, yes, during his lifetime, in the mid-seventies, but he had no thought of going there, at least , well, i don’t know, no, as far as i know, his close friend, well, one might say, a student, a weger, a famous israeli artist, he... him, then it was in the tel aviv museum,

that’s all i know about his jewishness, yeah, for this last exhibition of his, which opened in paris or berlin, where it was the fourth year in paris, and in the gallery of garikatspanjan, such a dealer, gallerist, he could go there theoretically, he could, but he was not given a visa, he could go. in dressdon, well, especially the gdr, yes, the first exhibition in europe also took place in the mid-seventies thanks to the initiative of such a young, very brave curator who collected graphics from eastern european artists in the drawing department, well, good news probably other artists went, they didn’t trust him or what’s the problem, well, i just think that either he himself didn’t really strive, no, he aspired, he really wanted to go to paris, he had a dream, since it was the season, yes he was cezan fan. he really appreciated and seemed to understand that paris was the capital

of modern art at that time, he really wanted to go to paris, but he was not allowed to go. the first soviet and russian museum collections are the new jerusalem museum, around the same time the pushkin museum purchased the first drawings, and gradually, in the eighties, the collections begin to replenish, and here are several gifts, as i already said, from the heirs that end up in our museum. i also have the feeling that they talk about him and know less than he deserves, because

after all, someone else is hearing it, but he probably isn’t, so thank you very much for this conversation, for this exhibition, i indeed, having seen all this on the screen, now i would really like to see all this on eve, yes, this is really very cool, so, it was a podcast about the life of the wonderful, and we talked about outstanding artist of the 20th century, hello, this is a podcast deception of substances with you olesya nosova, editor-in-chief of komsomolskaya pravda and with me the famous endocrinologist

zuhra sharipovna pavlova. day of the medical worker, we decided to talk about a hype topic: do we need doctors, doctors, doctors, when there is an excellent... search engine, when there is artificial intelligence, and so on. here is zukhra sharipovna, from the heights, so to speak, of the internet, what can you say on this topic? so far it’s not very possible to do without a doctor, although some things are being resolved, and statistical, yes, there is less need to do this in hospitals, they cope with this very well, and artificial, this intellectual history, but as for making a de... diagnosis, collecting anamnesis, questioning, examination, is this a doctor? well, i ’ll give an example, again to this thesis, that people most often search on the internet, uh, information about headaches, stomach pain, cough, fever, fatigue, weight changes,

skin changes, and so on and so forth, to be honest, these symptoms, it seems to me, apply to almost all diseases. except water in the knees, yes, what was there, in this wonderful work, well, a headache, when i ask a person if you have a headache, i will ask where it hurts, how often it hurts, when it first appeared, is it aching, is it stabbing, is it pressing, is it bursting, does the face turn red, does it hurt somewhere else, does this pain radiate somewhere, is it accompanied by tinnitus? do your eyes hurt at the same time, what did you eat before, did you sleep well, well, that is, everything, that is, the artificial intelligence will not ask this, but the patient will not ask this question to artificial intelligence, so this is pulling out information - this is such a medical consequence and this medical consequence is like cards in a puzzle, they put together

the whole picture, and even after carefully questioning and examining everything about the person... you find out everything anyway, you won’t treat him, well, unless it’s a vital situation, right now, yes, not some kind of appendicitis or something like bleeding, then you ’ll definitely send the person for examination, and you know what he needs to pass, and what is not necessary, if you just score, let’s say, abdominal pain, abdominal pain, yes, well, this artificial intelligence will give something out there, and if you describe the symptoms or suppose a lump in the throat, yes, patients often come. this is a symptom of a lump in the throat, they entered this symptom into a search engine, after some time they were given the probability that they have hypothyroidism, hypothyroidism is a disease in which a condition in which the synthesis of thyroid hormones , the production of thyroid hormones is reduced, hypothyroidism develops, from the word hypolow thyroid, thyroid gland, and there are also all

the same symptoms that i listed, except for the stomach, head, weakness, well, in my opinion, there is no cough. he quickly cut everything off, the interesting thing for himself is that you know, people are built differently, someone seems to him to have left it, everything else, well, somehow misses all possible diagnoses, including, by the way, appendicitis, if the pain is in stomach, he chose hypothyroidism for himself, yes, yes, maybe that’s what it’s like ... stomach, abdominal pain, hypothyroidism is very often accompanied by constipation, constitutional syndrome, when it’s all like this, then the stomach can hurt, so here you go, this logic, it’s still built by a human head, and an experienced head, where there is knowledge...