and such from greece there are the teranobortsev, let's say and further on this sculpture already on the application, let's say, on the technical assignment of afan a competition was announced among sculptors, and also the best participated there like shadra, who also, by the way, together with mukhina studied with bourdelle, yeah, and that is, in general yes, it is important to emphasize that mukhina studied in paris, studied, and actually mukhina won and that's it, this is one of the best sculptures of the 20th century. therefore if we compare it here in its genre, in the genre of monumental sculpture, compare here, roughly speaking with the statue of liberty, then in general it certainly wins, that is, it is our statue of liberty, only better, well, it is different, although if i had to compare mukhina with someone, then i would rather turn to bartholde, of course, to the author of the statue of liberty, i will allow myself, so to draw such a very short connection between the classical...

the difference from yard, from shag and so on, therefore we have lost a lot of the human, here artists like mukhina, they preserved, even though the diameter was probably already considered there in millimeters, but still they maintained the connection of the manual from through the classical proportion with all this, because all this remained, that is, on the one hand she drew there these of hers...

this connection of the huge here with the simple, it all, for me, at least, is read through the connection with the antique proportions, well , on the one hand we are talking about ergonomics, yes, which is directly related to design, on the other hand about materials, because this sculpture was made of steel, and this was very unusual for that time, then there is no one did it before, no, they didn't, she was delighted when she was offered to make steel sculptures, because bronze, bronze, sheets of bronze, obchala.

metalworking some advanced enterprise, it suddenly turned out that this steel with its there half a millimeter thickness, it is quite plastic. plus it is not assembled on rivets, welding and so on and so forth, that is, she got some, plus it brilliantly literally reflects sunlight, and it simply glows, yes, yes, it glows, all these quality, it really was some kind of breakthrough, purely technological, well , that is, it really wasn’t a choice, but vera mukhina, it was a proposal, she was told that it needed to be made of steel, that is, it was like they came to her with this material already. it’s interesting what she did, for example, when sculpture flowed out about the synthesis of art and about how she generally thought outside the box, in the fifties, there was an exhibition in the russian museum, where she showed a female torso made of glass, and it was matte, well matte, like yes, it showed volume, and vera mukhina wanted

a transparent cake to be shown, because it wasn’t in a museum, but somewhere in a park or a garden, where there was greenery all around, and it was as if this sculpture had collected... moisture from plants around, it was formed from dew, from rain, that’s what she wanted, that is, as if she even thought about the sculpture, how they would be exhibited, she had this figurative conceptual thinking, she was, after all, not such an applied artist, but in order to make something there to order, she thought very globally, dear friends, you can watch all the podcast lab episodes on the website of the first channel 1tv.ru, and is it true that at first this figure, well , this sculpture of a working collective farmer should have been naked, but she was forbidden, well, yes, well, thank god, because this scarf was added there, and that is, it was, well, this is how to say, ordinary creative work, here

, of course, it is not good when people from the outside interfere, but sometimes they are useful, this was also not the first version, there are other search layouts that are in the new tritekovka on the crimean shaft... come and see, actually the train of thought of vera mukhina, and how much time did they have to do all this, that is, it is still in record time, extremely, you know that i myself participated in 2015 in one of these expos, this is monstrously little, simply and even i do not understand, a gigantic experience of participation, they still begin to gather and decide something in a few months, all this in a few months, naturally in cramps. in a day in the cold they collected and knocked out this sculpture, because it

had to be delivered and assembled by may, and it was first assembled here, and then assembled here, then they looked at it, looked at it, checked everything they could, although the work was almost... at random, because well, as it is customary, a sculptor works on a model, makes a model and then looks at it, comes, comes to the formatters, they enlarge it eight times, here - the model itself was a meter or there 95 cm small, but it had to be enlarged simply by more than 20 times, and it is kind of incomprehensible, you make a mistake by a millimeter here, it can grow, it was such a process, well, that's why. said luck, luck was with them, they did everything very well, everything came together and so on, then there were adventures, when it was necessary to take all this to paris, yes, a whole train, there were 28 carriages filled, which consisted of fragments, yes, but here's what's funny, they

divided 65 neatly into 65 fragments, put them, legs, yes, yes, yes, yes, yes, they took it, that's it, it was somewhere there in poland, it didn't fit into some tunnel, it had to. and they also say there were some attempts to drive there to a reserve point, not to let the soviets pass there, there were some people saying, it was necessary to saw off something protruding beyond this tunnel with an oxyacetylene torch, just cut it off, but it was not so scary, then they brought it to paris, the french communists came to the rescue , they helped a lot there, including even with the protection of this area, here... they built a giant pavilion 160 m long, here no one was allowed back to dismantle,

people came who were completely unfamiliar with installation , with sculpture, with technology and so on then, they sawed it into 44 pieces there. 65 neat ones, and here it’s just like that, this is in paris, yes, in paris they sawed it into 44 pieces, roughly and somehow they sent it all there, we already assembled it there. they changed the metal from thin to thick, violated the proportions and in general they put it on this stump in quotation marks and so on, in general it was already, i think, it was extremely traumatic for her, but still the game was worth the candle, as i understand it, this statue made a splash in paris, that everyone was absolutely in the east of course, but even more to perpetuate it i made a mass film of course, well naturally, because since forty-fifth year.

in the very center of the city, well or even not so noticeable, but in general gorky near the belarusian railway station, and gorky is also hers, well...

which she essentially managed as artistic director, but she was also the initiator of its creation, when in

the forties there was no such plant, she proposed to make an experimental workshop on the basis of a mirror factory, just a glass factory, that is, no one there i didn't talk about art glass, but here she is, yes, yes, and in fact after that, of course during the war a the great patriotic war the work of this art department was interrupted. but already from 1945 the work was in full swing and new masters were trained, and what was very interesting was that they only, for example, made a project and then gave it to production, she stood in the furnace watching how everything was cast, she always communicated with technologists and together with them found an adequate solution and forms including, because it was important yes how to go together with technology with material, that is, as if she was always searching, and there was no...

hell to work with workers, that was what was interesting to her, here are her students, mukhin's school, we can talk about this, i don't think, that is, she remained such a unique unprecedented phenomenon, well, thank god, but in fact, artistically being an artistic director and being on artistic councils, this is also very important, because firstly, they not only send something to production, sign it, they give recommendations, when to do it, what needs to be changed there from a technological point of view, that is, as if it were actually some kind of teacher, well, in fact, yes, you come, and they tell you so and so.

his creative life, and moreover, here is the plant it was made in order to - to do, as we would say now, to set trends, because it would be necessary to make good samples. so that artists would make and then it was assumed that these projects would be bought by glass factories all over the country, that is, as if they make artistic glass, then they experiment, develop new models, and then it is released everywhere, that is, in fact, the same thing happened with some ordinary and there the same glasses or and then they called wine utensils , these are like yes sets, but still

the most important thing is the working collective farm woman and the most famous and of course it is very cool that firstly the sculpture...

thank you very much, dear friends, i welcome you, this is a podcast chronicle. the end of times, my name is evgeny dodolev, today i will tell you about show business, or rather about bandits in show business. vladimir matetsky likes to repeat the english saying, there is no other business like show business, well, in the original in english it sounds more energetic and rhythmic, but the essence remains

true, this is to say that show business, even when there... big money was not or is not spinning, is still very attractive for people who are usually called bandits, that is, people from the criminal world, why? because it is a bagema and both, that is, it is some kind of marginal thinking, therefore it attracts some to others. often bandits come to the world of show business not for profit, but simply for the sake of... some kind of thrill, there is a great film with trovolta, catch the shorty, i think, it is called in our translation, where a bandit comes from miami to hollywood and simply gets involved in a producer's story, very often people really from this criminal world -

were engaged in what looked, perhaps, like racketeering and blackmail of people of art. well , first of all, musicians, of course, in our country, in fact, because they were simply interested, as they say, for the thrill communicate with those people whom the public is used to seeing on screens or on stage. i first learned about this side of show business very, very early, when the term show business, in my opinion, did not exist in the russian language, i have it since my early student days, by the way, i have... a photograph from the late seventies or maybe it was the eighties or eighty-first year, this is the beijing restaurant, this is christ kelmi, on the far right, his wife, the first and only lyusya, this is me with my friend natasha waltz, who was later the wife of alexei chlenov, who was the fiancé of ala golubkina, who

later became the wife of alexey romanov, the leader of the band voskresenie, and then the wife of another rock veteran and almost became the wife of alexander borisovich gradsky, well, the song is not about them at all. this picture was taken by a very famous producer, he later, or rather became a producer, at that time, he started out like that, but already then, at the very beginning of the formation of our rock scene, when very modest money was earned, even then people from crime were hanging around the musicians, although there was nothing to squeeze out there, not from chris kelmi, not from the other rockers, but they were kind of interested, moreover, they often... organized performances themselves and earned money from this, because as soon as the first soviet rock group appeared, they were called

sokoly, in my opinion, then to make money on this music - there was a man who loved and appreciated music, but he loved money more, and understood money, i am saying this, by the way, without any condemnation, i loved this man very much and was very... worried when he left, i am talking about yuri azenshpits, yuri shmelichi ozinshpitse, here we are with him at portzone, the so-called, there was such a fashionable musical project, this, by the way, is elena demidova, she is a television producer and a famous person in show business, well, such a shadow person, completely fearless lena, who went to shoot with bandits, to a certain extent was for...

just like about the producer of the sokol group, and as it turned out, he helped him a lot, i don’t know him, first of all, personally, i don’t know that i helped him, we met in person, it was at some concert right after he he was released for the second time, in 1987, in 1987 he was released, after spending a total of 17 years in

prison, that is, a significant part of his life, and i was there with my friend and yura azenshpits came up, who looked really creepy, in fact, he had metal teeth, he was wearing a boiled denim jacket, which had already gone out of fashion by that time, all this boiled denim, so he came up, introduced himself and said that thanks to my publication, the attitude towards him had changed - camp administration, when he was sitting there, they realized that he was a man there, i compared him, it turns out, with brian emstein, betlov's producer, that's what i didn't remember, that's what i helped him a lot, and he just said that he had just gotten out, as he said, he was thinking about getting into producing, that's exactly what he... there i named several groups that really should get into and talked him out of the idea of ​​murmov, by the way, yuri shmillich took advantage

of the advice, yura, a man, in this regard, when we talk about bandits in show business, legendary, i have read many times that he was the most authoritative there, the most, the most bandit bandit, but this is not true, because yurov. to a certain extent was such a person who loved to show off, loved, so to speak, this external side, that is , he was not such a karabas-barabas, a shadowy one who is a puppeteer there, he liked just this entourage, no, he knew how to make money, and he understood how to make money on it, he had an excellent intuition, and yes, he attracted real, well, authoritative people, i i remember that if... anyone now remembers vlad stashevsky, then i in turn remember how he

attracted to the financing of this project, such a sasha gypsy, in my opinion, he was alexander makushenko, yuri knew how to convince these people that this was a profitable investment of money, in my opinion, in the case of stashevsky, by the way, this was the case, it worked, well, but since yuri was in the public eye, and he liked to be in the public eye. he , so to speak, strove for this and there the same vladimir matetsky admired the quantity and quality of his jackets, then, in fact, since he was in the spotlight not so much of public attention as of media attention, with his prison history, that is, with two solid terms, everyone actually said about him that he was all like that, a godfather, in fact, there were really very serious people in show business. in this sense, that is , real with authority, yes, his exes treated yuri very well, warmly, like neighbors, but...