we meet with history, with mystery, we reveal these secrets and preserve the legacy for future generations, i can definitely say that i have a team of professionals in my inte, specifically in my production, my work for me is a significant part of my life, it , probably a joy for the soul and mind, watch the “quality mark” project on our tv channel,

in the interview you insist that you are an artist first and foremost, every museum institution, especially a large one, must follow this trend in order to speak the same language with society, under a pile of documents , haven’t you completely lost your love for the craft in passion ? these are almost creative torments, you need to learn how to deal with them in order to achieve a certain result, this is not a game. did the difficult life in art scare you away from choosing a profession? asking for the tradition of the classics, the question of a masterpiece is an eternal topic, you should not force yourself to work and be in art, should feel this as their life. yes, i’m not a serial manufacturer, i always push away. from the task, this is a portrait of my mother by my

brush, but it seems that picasso, hello, you are watching the program tell me not to be silent, victoria popova and tatyana shcherbina are in the studio, and today we are visiting. general director of the national art museum anna kononova. good afternoon, anna vladimirovna. hello. we are glad to see you in our studio. in interviews you insist that you are an artist first and foremost, but now time has passed and with a pile of documents, have you completely lost your passion and love for the craft? first of all , i am an artist, that’s true, i came from a creative family, my mother is a professional painter, my father is a professional one.

sculptor, painting, this is such a warm memory of her when she was pregnant with me, my mother painted , among other things, and of course i am very grateful for the large enough space, i did life, fate and god for the school that i went through, the vocational school for my teachers, such a serious path and such a serious experience, of course, for a reason happened in my life, i felt it. i understand art now as a vocation, and the fact that such a complex path is given is also a path that is given from above, it is given to everyone differently, well, this is your test, yes, we ’ll talk about what difficulties you have is on your way now, but what’s interesting is that now is such a period of young leaders, the young leader of the slavic bazaar in vitebsk was impressed.

world, how many calls, how many wishes to participate , it was also new to the young director of the philharmonic that we have world stars how many people are interested in the festival , they play classical music on the minsk stage and do it willingly. for you, what were, well , perhaps the very first discoveries in your position? the biggest impression is , of course, the strength and scale of our national heritage, fine and decorative arts. those treasures, those masterpieces that are kept in the collection of the national art museum of the republic of belarus are the pride of the country and we can be proud of this on a global scale, after all, the funds are impressive, the position director of the museum, well, as prestigious as it is risky, let’s say, and sometimes , out of grief for their brainchild, administrators get carried away and end up losing their posts, there are many examples from alfred bahr, the first director of the museum of modern... art in new york to

zelfira trigulova, the former director of the third school. why did you agree to take the risk and accept the offer of appointment as museum director? am i very human?

and this is courage, i think, which may not be for every man’s body, this is really courage, and that’s exactly what i mean i perceive this step, my path, in fact, in a professional environment, is quite rich, and i love to learn, i love to develop, and career growth has never been a goal for me, this is really so, everything happened. written because i love to study, i love to learn about three three dissertations today, i love to develop, and i would do this naturally in my life, and i have already done it without job growth, without career growth, but you had it right before that ,

how you thought about some idea, that's how what a museum should look like today, a museum of the future, even we are already talking about the future, but do you have any plan? awareness of myself in the position of a leader, for me this is another calling somewhere, but i, as a believer, understand that if god called, it is not by chance, this moment of non-accidentality influences my decisions, as an artist, as a researcher, an art critic , as a leader, and of course, today there are a lot of modern technologies, trends, international... artistic practices and curatorial practices, museum practitioner, all this needs to be followed and learned from this, but at the same time, probably, for me the task is to preserve the fruit of traditions, i

treat tradition very respectfully, and in the light of modern trends, in the visual arts, in principle, modern art, performance art, very ... there are many such problematic concepts as the blurring of the boundaries between what is professional, what is unprofessional, what is a level bar, the same moral level, and where this bar is no longer respected, and it is very difficult for young artists, young authors to it’s not easy for the older generation to understand this, in principle, because there are many trends, but, in my opinion, they still need to be treated fundamentally and...

the problematic issue moves more into the area of ​​ideological processes, here it is very

important, because how i have already said above, this omnivorousness, in modern conditions of omnivorousness, permissiveness in art, in the processes of contemporary art that we observe, you need to deal with it very carefully, and how to act carefully, you need to understand, realize what is good, what is bad, so simple. a bar that cannot be crossed, just like in the technical execution of a work

of fine art there are objective laws that say that this work is professional or unprofessional, it doesn’t matter if it is executed in a methodical way in the traditional approach or i don’t know, it’s some kind of abstract splash, yes it doesn’t matter, there are objective laws by which you can always evaluate whether the work of art in front of you is professional, the most important thing is: what task is assigned to the artists, curators, researchers, consciously and even unconsciously, how responsibly the creator approaches the translation of his ideas into the world, if initially he does not consider the moment of some kind of fundamental selection important, then all sorts of different things can go into the world and maybe a lot of not useful things can go, how can you tell the shedeu in front of you?

a team of employees who worked with inspiration on the collection of collections, including

taking into account gifts from regional and russian famous museums, the state hermitage museum, the tretyakov gallery, the museum of fine arts named after pushkin, then in the pre-war period a very serious collection of objects was assembled, more than 2,700 exhibits, and of course, already at that time the employees understood that it would be located... the collection, one might say, from the ashes, because nothing, nothing, yes ,

the actual idea of ​​the main building, the creation of the main building, has not been preserved, all this in historical progression must be observed, and the roles of the government and the president himself should be noted, because at different times, first the government handed over one building, which is now the administrative building of the museum complex, later in 2006 the president inaugurated the new building, it should be noted that without the support of the head. country, all this gigantic work that was continued by the followers of the directors of the museums was worthily continued and supported and carried out, it may have become the result of it became possible thanks to the decision of the president , this is the personal decision of the president, without this decision it would not have happened, yes, i even remember these

times when businessmen insisted that they i really need these cases. and when i went inside and looked at all these processes, there is not enough space, firstly, we need to account for the fact that now the viewer sees about 3.5% of our fund in the permanent exhibition, we can bring it up to somewhere around 4% , given that temporary exhibitions on karl marx are in the new building,

which was put into operation in 2021, the new exhibitions also contain the work: gender does not matter, if you are in charge of such a colossus, personality matters, personality, and anna vladimirovna, here after all regarding new acquisitions, this is what worries all the artists who listen to us today, are you a fan of buying paintings from

the best of the best, from the average or from the young, so that they will later become famous? and you are also with them, i am for an individual approach in everything, there is a task, there are specific works , if they are of a high level, then the country needs them, and the funds and collection of the national art museum need them, now, of course, the concept is somewhat not with the museum itself, and the state has a different one, the concept of an approach through social and creative order through... state order, this is very correct, we need to work with these mechanisms, think about how to improve them, but the experience of the soviet era, it is a very good experience, we need , in my opinion, to fully revive it, because what the modern order, and the modern professional

artist, lacks such a serious request, i ’m probably talking more about painting now, because in the field of sculpture, monumental and decorative art, this mechanism has been established, it’s very clear to me, that, for example, an order for a multi-figure thematic painting of a large size, yes, it is associated with a huge number of aspects that need to be thought through, worked out, including financial support, not in the end, during the preparation of these stages, so to speak, is also very important , but does a lot.

the forms that appear, there is a soul there, there is a spirit, and it will always act positively and creatively on the viewer, finding a response in his soul. but you have this fashion for classics, for antiquity, for true values do you feel in the museum, is there a surge in attention from spectators in your opinion, especially

young spectators? there is a surge of attention, of course, including due to the fact that the museum uses new forms in working with inclusive projects; we act through multimedia and work with augmented reality.

is also very useful, and i would like that over time our museum would have greater multimedia opportunities for interaction between modern viewers and modern young

viewers, but the question of content, form can be modern, the language of communication with the viewer, with the visitor can be modern, the important question always remains, what do we fill this content with, what are we talking about, what emphasis do we place, and everything should be here... say, don’t be silent, subscribe, ask questions and invite guests, we are in touch. we introduce you to the architectural memories of belarus from different eras and centuries. byzantine architecture, which had passed its time with a bang, began to float on

the ancient russian style. і all that is rightly guessed by the kanza 19 stagodzia, geta uzho tsalkam palitichny project. russians aim. he is working on and extracting such valuable elements of that old architecture.

and we give new life to these old traditions. dzvyrya began to fly.

what would you like to do? yes, it’s a wonderful anniversary year, we have already done a lot, we started with a historical project dedicated to posters and photographs, and of course there are a lot of very planned and planned projects dedicated to the implementation of the concept of development of the national cultural

space. belarus, so we have already done a lot and will be active until the end of the year implement all our other plans, and of course, this year will pass under the sign of the sacred date for belarus of the eightieth anniversary of liberation from the nazi invaders; we also marked this date with an exhibition project and will continue to work in this direction. the program “tell me not to be silent” is on air again. and our guest today is the general director of the national art museum, anna kononova. a couple of years, anna vladimirovna, before our meeting today, i saw your work in a gallery at an exhibition, which occupied my mind for a very long time. attention. lamp, yes, it’s called , i don’t know, it seems that it was the covid period during the writing, but not all other events, the twentieth year, which we often remember in this studio, and so it

came to me at the right time. parents to some extent, but somewhere even in me this light from childhood itself, well, happened, called me, somewhere, maybe even my parents lit up after me. galina and vladimir kononov, they have a very good kononov art page on facebook, i recommend that art fans follow the update.

well, life in art is not easy. scared you away from choosing a profession? didn’t scare me off, good question, well, i’m the kind of person, seriously similar to my family in this sense, because they take the path of art very seriously, in fact, as a child, i not only observed all this, but absorbed it in conversations about art, in conversations about how art should serve society, life, what... bring meaning to the world, with what selection, certain examples that we paid attention to also brought up this in me serious attitude, and the fact that the artist must go through this creative torment from childhood, when first a specialized college named after ivan osipovich, an ahremchik, then my dear almamator, the academy of arts, the one who... takes this

path seriously, he understands , how difficult it is, it’s practically such a creative torment, you have to learn how to deal with it in order to achieve a certain result, this is not a game, you were 7 years old, but you left mogilev for parnat, i entered parnat at the age of 11, in fifth grade, 10-11 years old, you are leaving your family from mogilev to minsk, that’s absolutely right, in my case no one forced me, of course, but...

the difficult thing is that during this period there was not enough warmth at home, yes, perhaps, yes, because these serious tasks are not childish when do you understand what you want? to go through such a thorough path in art, to choose from morning to evening, you stew in these states, you don’t just carry out practical tasks in drawing, painting, composition, the personality of the artist is smelted in you and you understand that it is impossible just to learn something technically, you must accept life in art as a way of your life, and this is what all professional teachers teach, i tell my students about this now that you must, as there is such a good saying, even more than bondage, you must not force work yourself and be in art, you must feel this as your life, then you will succeed, even when it is very difficult, this, well, this is such

a service, you know, even something from the religious, sacred, one more tender we will show your favorite work to our viewers on screen, she calls: are you one of those philosophers who won’t wake up the cat and won’t get up if he ’s taking a nap on his robe, or you can still sometimes throw it away, it will be for me, it will be difficult for me to do this, it was a rented apartment at that time , i worked on my dissertation every

night, because during the day i worked at the academy of arts, taught and worked creatively a lot for that period, well, this is a very bright moment, a vivid memory of mine.

well, you can’t say that you are a follower of one successfully found idea, yes, that you you will churn out 20 or 120 identical works there, there is always a search to observe, it is still ongoing, right?

flows and is born in accordance with a certain task that i set specifically for this canvas, only then the language through which i solve this or that task, it... is suggested to me by this process of interaction with the canvas, with the idea, with the plan, therefore all works are different, well, in the case of the lamp, my favorite, the courtyard and the temple, the light always stands out very much, that is, this is probably the first impulse, which you get, yes, sunlight, and from here stories are born, or as you are absolutely right, who else inspires me, my mother, first of all, and i want to emphasize that i perceived my mother quite early as an extremely professional painter, namely this was objective on my part, that is, not because i am a daughter

subjectively to my beloved loved one, i always saw that he is an exceptional artist, a very strong, powerful painter, colorist, and i think so at the moment i am very proud and delighted. artist, this is the artist who combined the traditional embodiment, and through the realistic method of embodying reality, with a very powerful, luminous image, and life and the gift of life, which she glorified, somewhere consciously, somewhere unconsciously in her canvases. almost all of raisa vladimirovna’s works are filled with this light and are designed to inspire the viewer, the perceiver, the recipient who

looks at these canvases. let's look at another old photograph, that's you in the photo, yes, that's me, and that's a portrait of my mother, that's a portrait mother, my brush, absolutely, but it seems that picasso is at least 6 years old, as far as i remember, yes, we recorded this, i am 6 years old here, i remember very well how i took my mother from life to...

what - it didn’t work out, but now i already see and agree that this is a strong portrait, well, some artists admitted to us that it was as if someone was dictating their paintings to them, well, we know and dali was very demanding about this, he specially tied the hands to the pillows, so that someone dictates to him, in your case on the screen we see another of your work, like the plot comes to you.

i am not always in good condition to work, this does not mean that i do not set or will not set in

the future some complex tasks, but on a historical theme or on a dramatic theme , which is overflowing with works of art history, but here it is very important to always observe the measure and not to go beyond the boundaries, not to go beyond the boundaries, when this mystical field will act on the human soul from the dark negative side. on the artist’s soul, because it is very difficult to deal with this, and he begins to broadcast through his canvas the world is harmful things that harm the viewer and society, and themselves, this is very important to me, that’s why i talk about it all the time, artists sometimes ruin themselves when they get carried away, go somewhere unknown, absolutely true, so for me, this life-affirming solar principle, my certain state, which gives me a connection with the other world, but

still its light component , it is very important for me to tune myself into the light state, at the time of work, there were experiences and others, i i know very well what i'm talking about, and if you are upset, angry, you won’t come, i will come in order to return myself to a normal state, i will return, but i am very analytical. then i will evaluate what happened, and not only with my mind, but also with my heart, is it possible to show it, another question: can paintings speak? let's look at another one of your works, it's called the beginning. in my opinion, she is eloquent, what do you think? very good composition, also inspired by observations from life, this is a self-portrait with my nephew, yeah, we’re like this on large cardboards, on

large formats loved working with him, you know, now many instagram bloggers imitate you, because this is... a composition i often see in my feed. if this is a non-commercial secret, is it possible to find out the prices for your paintings? these are my internal questions, it is expensive, since i have already said that i am not a serial artist, so i especially value each of my pieces. and there are those works that will forever remain in my archive, in the archive.

that now temporarily i cannot return to this business, well, probably everything is not accidental, since over time, something can change, back in my student years in my youth i was always looking for the moment of expressing myself in dance, at some point these dreams of dance and being in this form of art captured me quite strongly and somewhere even argued with my main calling . therefore, when i already found this dance, which delighted me with the opportunity, this inner spirit, what the spaniards call broadcasting into the world, when there is fire in a vessel, this image of fire in the vessel inside everything is very burning, everything is very strong, passionate,

all the events of life and in general life itself are strongly experienced, but it must be presented in very beautiful, neat... spaniards, you understand that this is not a typical situation, for them it is with mother’s milk, but you were brought up in a different culture , why is this, two medals were gold, silver, third place.

on the air again, don’t be silent, we have in our studio the general director of the national art museum anna kononova, you are still teaching and you haven’t left the academy due to new circumstances in your personal life, but what do you think, and the current students, they value time spent communicating with you, how did you value it?

people, i am very proud of him, my students receive quite high awards at the delphic games, at other significant

republican competitions that are held in our country, abroad, i see in them a love of art, passion, and i teach them this, this is this more important, technology is important, the studio is important, getting school is important, but the priority is always the love of art, which will give strength for everything else.

we have a lot of projects planned that we will soon implement, and you about it you’ll definitely find out, we won’t tell you everything. as you know, we do not have an art market as such, what can you say about state support for creators, it is at a fairly good level. a lot is being done, and through government procurement, works are purchased in our museums and, in recent years, a trend has emerged. the minister of culture has focused on the acquisition of works, works, creative

works, the best, young authors, it is possible to improve some processes, there is always something to strive for, but the state the support is sufficient, but i would like to know from you, as an artist and as the general director of the museum, is there any fundamental difference between belarusian art and pan-european art? or do you still consider our creators, their paintings, sculptures, and so on in a global context? of course, the question of national color in the art of belarus, it is extremely important, and this is one of the most important and difficult questions that are asked, i know at the national academy of sciences in belarus, since i completed this postgraduate course in defense dissertations for the future of art.

there is an opportunity, it’s honest, it’s true, i ’m not the kind of guy who will do the impossible, because i treat

a new field very responsibly, this... in principle , it’s not new to me that there are no good nights and not enough hours in the day , my whole life has been spent in this, you were the dean, let us remind you, the audience at the academy of arts of the faculty of arts, then the vice-rector for academic affairs, that is, leadership positions are generally familiar to you, and leadership positions are familiar both to the moment of organization and the combination and the ability to work with multitasking processes

instills in us the understanding that service art is a choice and a choice forever. tatyana shcherbina, victoria popova, we say goodbye to you for today, goodbye, goodbye, and now anna kononova is speaking. dear people,

spectators, visitors. i wish everyone to love art, to get acquainted with correct, beautiful life-affirming art and to come to our museum to be inspired by masterpieces, to be inspired by grandiose plans, to grandiose life projects and to rejoice peaceful life. the most natural request to the artist is to put an autograph on... anna vladimirovna wishes to our viewers and our project, well, everything is very rich here, so, so, so, so, well, probably here, to love a peaceful life.

the television news agency is open access, we have no secrets from our people. let's take a look at the all-union science and research institute on the creation of grub products from bulbs: this bulban grits. for several large grams , meetings took place during the month and in the russian federation, and in eight times the soft bulbs. at the velma hutka you can make delicious puree. rich in starches.