if you run away from the place where it happened, it seems very strange that you may not know that you will be searched and declared wanted. ivan ablov is currently under arrest without bail. it will be recalled that his father yevhen ablov is the former deputy head of the scandalous, now liquidated district administrative court of kyiv. one of the most odious judges in the country. ablov is a suspect in the case of the wolf films about the attempt to seize state power. and interference in the work of judicial bodies. evgeny ablov is the deputy chairman of the already liquidated odious company of each administrative court of the city of kyiv. the author of the already well-known catchphrase "boss" "let's learn". this is a person who is first of all the judge of the maidan, because it was he who, in an hour and a half , issued a decision that actually obliged berkut to storm and clear the maidan on the night of

december 10-11. judge families clearly demonstrate how far the apple falls from the apple tree. we hope that after the complete renewal of the judicial system, in accordance with international standards, we will no longer observe such examples of heredity, but for now it remains to believe in the law enforcement system, which should make it impossible to avoid punishment by violators and criminals who are used to using family ties. and for today i have everything, it was judicial control and i am tetyana shustrova. if you know the facts of corruption in the judicial system, or you want to report an unscrupulous judge who makes illegal decisions, write to me on facebook or to the email address you see on the screen. it's all good, we'll meet in exactly one week.

greetings, my name is myroslava barchuk and this own-name program, a joint project of ukrainian foam and the espresso tv channel. today we are talking about malevich, just these days he turns 145 years old, and i think this is a good opportunity to talk about why he is a ukrainian artist, why... he is a person with a ukrainian, at least cultural identity, and will help me in this tatiana filevska, my guest, is the creative director of the ukrainian institute, a researcher of kazimir malevich's work and the ukrainian avant-garde in general. tatiana, congratulations good evening, good evening, and i suggest looking at malevich, but through the prism of our own identity. you remember, 2016. when such an idea

arose to rename boryspil airport to malevich airport, and then there were different opinions, there were terribly heated discussions, i remember such a position that people said, well , to attribute ukrainianness to malevich is such an inferiority complex of ours, malevich is not ukrainian, and in in principle, and in the end, the airport remained, there was a vote, the airport remained boryspil. but i'm not talking about that, i'm talking about the fact that it's been six months years, and it seems to me that during this time, something shifted, first of all, in ourselves, and when it shifted in ourselves, then museums in the world began to call malevich a ukrainian artist, and not a russian artist, it is connected somehow with how our identity has changed over the past six years, certainly what we've learned about ourselves over the past six... years over the past two years

has a lot to do with how we evaluate the events that came before us and our past , our attitude towards it, and we reevaluate many, many things, and those events that took place it also seems to me that our work, which was done in this direction, is very important here, because if we talk about kazimir malevich, yes, this is what i do, and i know how much over the last six years with... . there were studies, publications, films, and actually we understood that in malevich ukrainian, and why we can fit him into our context, and how he is connected with it, because it is precisely in these connections that identity is revealed, revealed connection, and when we knew nothing about malevich and only heard from researchers from russia, that you cannot talk about any kyiv period, because there are no documents, there are no archives, how will you prove that in general yes he...

did something and it had some significance, and it is another matter when there are published materials of his lectures in kyiv art institute, which are also available in english in this book. in french, this book actually came out in the 16th year, then it was still later, translations were published separately, who published it? this is an edition of the rodovid publishing house, supported by the nizhny novgorod business school, and it actually took place, and this edition was published together with an international conference dedicated to malevich, actually there have been two such conferences over the years, and this is also very important when researchers of malevich. from all over the world and researchers of the avant-garde from all over the world come to kyiv in order to negotiate some new finds and new discoveries in malevich, if i remember correctly, in the genealogy there was the same published study by claude marcade in the 12th year of the french a researcher of

malevich's work, and it was he who started the first, at least i did i learned from him that malevich can be called a ukrainian artist. well, i think, if we talk about who was the first to pay attention to connections. with ukraine , it will be fair to remember dmytro omilyanovich gorbachev, who in general is the discoverer of the avant-garde, this is the man who actually unrolled these ramparts with his own hands, which were destined for destruction, this special fund in the national art museum, this was the avant-garde art that was purposefully destroyed by the bolsheviks in the 30s, and of which very little is actually left, and the artists themselves were destroyed, their works were destroyed, the archives were destroyed, and this was actually what allowed it later. to say that you didn't have anything here, yes, if, how can you talk about malevich's kyiv period, if there is nothing to talk about, well, but, as it turned out, some archives have the property of emerging from the ashes, appearing and actually creating history, to rewrite, we will definitely talk about it now, about the fact that there is

ukrainian in malevich, yes, why is he ukrainian, but you mentioned dmytro gorbachev, i listened to him wonderful, wonderful lectures, i advise everyone in ukrainian, this is now. the name is not an art institute, but an art academy , yes, and he talks, in particular, about malevich, these are extremely interesting lectures, and it was actually at the art academy, but i remember that you made a film in the 19th year about malevich, yes , and this film is called malevich was born in ukraine, you are the screenwriter of this film, and what struck me is that pavlo gudimov tells that in this very art academy... there was opposition to that, in kyiv, there was opposition to the fact that malevich is part of the history of this academy, that malevich taught in them, that is , some of the teachers did not know this at all, how could this happen, why did this happen, how could this be, well, by the way, these are the lectures of dmitri

gorbachev, about which you remember, we also organized, i was a co-organizer then, and it was actually an attempt to return malevich to the walls of the academy, actually... when malevich taught in the late 20s, it was a different time, it was a different art academy, for a reason, for example , a european journalist who came to kyiv, called kyiv bauhaus, because it was an absolutely unique art school, where volodymyr tatlin, oleksandr bogomazov, mykhailo boychuk, malevich, and a lot of generally prominent artists who gathered within the same walls taught at the same time, and each of them had a place there. it was actually the period of this ukrainization and skrypnyk's policy, so thanks to him everything is like this, it is specifically 1924, 1930, we have clear dates of this period, when the rector was ivan vrona, he was actually appointed by skrypnyk there and

actually, even appointment of malevich avron agreed with the violinist, as we know from the documents, that is, there were direct direct connections, and this is actually this story that i ... short and but bright these six years, it ends in the 30th year, when actually here this wave of repression against avant-garde art from moscow is reaching kyiv, and because these persecutions of avant-garde artists actually began in russia, from the mid-20s, after lenin died, stalin came to power, when it is no longer necessary was revolutionary art because the soviet union turned into an empire very quickly, and obviously a totalitarian regime does not need revolutionary art. it is dangerous for him. now we will talk about repressions, but i understand correctly, you are now talking about the fact that these repressions, which were back then in the days of stalinism, are the consequence and inertia of this attitude towards avant-gardeism as well, being forgotten in

the modern kyiv art academy. undoubtedly, that is, this is the policy of the 1930s, which was introduced under stalin, it still has as a result oblivion and reluctance in... to have anything to do with malevich at all, on in my experience, yes, since the mid-10s there, we have been trying to convince the academy that malevich is worth at least hanging his portrait on the walls. next to other professors, and i know personally how many times i heard no from rectors, deputy rectors, and so on, but how they say it, i.e. why, that he is not a socialist realist, i.e. how that, actually, well, that is, they talk about the fact that what is taught in the academy is that socialist realist canon, which still seems to have gone nowhere, that actually this abracadabra, which they do not understand, is for them malevich remains an inexplicable abracadabra, actually they are from this. are unbaptized and do not want to have anything in common with it, in common , yes, that is why it is yes, it is still hostile, it is

quite alien in the institute, i cannot say that if there is not a single teacher there who understands it, and it is worth mentioning, that dmytro antoniuk is also in our film, he is a teacher of architecture, and actually he reconstructed this presence of malevich in his office with his own efforts, he even created a myth around it that it was precisely malevich's office, although it it is not clear or not, but... he created an exhibition there and actually this is his personal effort, yes, because he also had this moment when his foreign colleague from sweden, it seems, came there, and she embarrassed him by , that she knew about what malevich taught in kyiv, he, while teaching in the same walls, knew nothing about it, had never heard of it, yes, and it was precisely this rather traumatic personal experience of his that led to the fact that he wanted to return this malevich, and here we are with him they tried somehow to... legitimize it within these walls, but unfortunately, it is still not like that, and

malevich is still such a foreign element in the academy, the most influential ukrainian artist is, as it were, a stranger to the main educational and artistic center in kyiv , i interrupted you, you were talking about repressions against malevich, they started. when, because he initially identified himself with the revolution, yes, he also called himself a revolutionary, when did the persecution begin? actually, well, that is, the revolution as such, and, it, uh, was not only politically, but, here, was happening, these ideas are revolutionary, they were first of all formed at the beginning of the century in the cultural environment, because people understood that the old empires must die, and actually, here are the artists, in particular the avant-garde ones. they tried to build for themselves this , this is this future without empires, where people are all free, where

everyone has the same opportunities, can realize themselves in the same way, and in fact, these are beautiful ideas about a bright future, they were formed among the avant-garde even before the 14th century th year, that is, not really a revolution was the first, and art was the first, yes yes, and when this political wave actually appeared, yes to bolshevism. they realized that they needed this support, and something that would visualize their idea of ​​this change for the broad masses, who were often even illiterate, and they needed some vivid images, and that is why the bolsheviks adopted avant-garde art , they used it because it illustrated this radicality and change, but it changed very quickly, despite the fact that the artists themselves, they very often they did not identify themselves with... chauvism, malevich, in fact, according to his political preferences, he was more of an anarchist, and by the way, even before the 19th year,

if i am not mistaken, he was published in the newspaper anarchist, that is, it well, he is talking about his identification and identification in a political sense, then obviously, when anarchism was defeated, there was a certain reality to which he adapted, so he cooperated with the bolshevik regime, he even had a fairly successful career, he, for example, in the reform museums, he proposed to create a network of museums of modern art in the soviet union, which was based on modern art, did not buy works from artists and distributed them to all these museums in the soviet union, that is, in principle, the network of museums that we know, yes soviet , if this is malevich's idea , he as a manager, let's say, a cultural person, came up with it and implemented it, here, but malevich, if you carefully read his memoirs, diaries, he was very skeptical of the bolsheviks, he was never... a supporter of these ideas, although he had very good connections and some very high-ranking bolsheviks

periodically signed up for him there, when he was arrested there or wanted to be released somewhere or was not released from outside the soviet union, but in reality it all ended very tragically for the avant-garde - avant-garde art in general, and for specific people, for malevich, because when the government changes in the 20s, they start chasing the avant-garde, first... everything starts with the then capital, leningrad or petrograd, they actually close the institute of artistic culture, which malevich headed for three years, they accuse him of all mortal... immortal sins and actually cut off his opportunities for any activity, and then kyiv appears in his life, like this last hope , he is invited to kyiv, given complete freedom, and here, in fact, skrypnyk still had the opportunity for a certain time to restrain this wave, yes, which came from russia, a wave of repression, a wave of persecution, and for a few years there was still this atmosphere

of freedom here remained, malevich planned to actually move to kyiv, to move my students, my family, but this... opportunity closed in the 30th year, this wave of repression came, vrona was dismissed from the institute, all these avant-garde preferences were banned, and already in kyiv , although kyiv was not even then the capital , but already in kyiv all these prohibitions came, malevich was arrested, while he was under arrest, he was released from the institute, everything that was in his office was thrown away, he had his own office at the institute, and actually this is how this story ended very sadly. tell me please, but before that he went to berlin, he took part in the berlin exhibition , he drove through poland, reached berlin, stayed there for several months, and suddenly the soviet authorities ordered him to return, it was clear to him, why, i will tell you now , on which i

base it, is that it was clear to malevich what would happen to him next. and why is he being forced to return, because there is his will of the 27th year, and as far as i understand, he was going to berlin, and he was taking some things out, i understand that the texts of some, yes, some work to preserve, and he leaves this sort of will in berlin, it's the 27th year, uh, the 27th year, this, and he left this text in berlin, in the event of my death, imagine, in the event of my death, or eternal imprisonment and... and if the owner of these manuscripts wishes, wishes to publish them, then for this they need to be studied and then translated into another language, because being under revolutionary influence at the time, there may be strong contradictions with this protection, with this form of art protection that i have now. i mean, what does it mean? this means that, firstly, he understands that he will either be killed or

imprisoned, and he says that he is staying. he is under pressure, i understand correctly, absolutely so , why did he, why did he not stay in berlin, when he, when he was called, well actually malevich, when he went on this trip, he had a plan to somehow stay in europe, this initially planned the trip as a trip to warsaw, berlin and paris, paris was his dream, like every artist, modernist, but it didn't work out, malevich came to warsaw and there he submitted an application for a french visa in these although he always wrote about himself as a ukrainian, at that moment he wrote about himself as a ukrainian, because after the soviet-polish war of the 21st year and already as if being a pole was dangerous in the soviet union. i suspect that this became known to the special services, so when he came to berlin, he had just opened his

exhibition in berlin, and literally the next day a telegram arrived, demanding in 24 hours ... to return to the soviet union and so he i was only in berlin for a few days, right? yes, that is, he made it to arrive, unpack the exhibition, hang it, there he also went to the bauhaus for a few days, that is, he was there in germany, well, not long, literally there for two weeks, and so he was forced to return literally the day after the opening of the exhibition , that is, he did not manage to stay in the west, so he did not manage to get a visa as a pole to go to france to get involved there. in fact, the poles were also not completely sure whether he was not cooperating with the bolshevik regime and was not a spy, i.e. he got, let's say, between a sword and a sword, between a sword and a fire, yes, that is, between two such systems, and what's more, there is a suspicion that in this, in this telegram, there were threats to his loved ones, because he was left with daughter,

mother, wife, his students, who certainly, well, could have been... victims of this blackmail, and he returns to the soviet union, he is arrested, for what? there are memories of the family that when he returned to moscow, he was immediately arrested and kept for several days in lubyanka, this is unreliable, that is, unconfirmed archival history, because first of all, russia has never opened its archives, let alone the archives of its special services, so it is impossible to verify this as of now, it is based only on ... the memories of his family, er, maybe, and maybe he is a few days was actually under this arrest, but in fact, what such a significant arrest that was in his life, he happened to... precisely in the 30th year, that is , 2.5 years after returning from germany, and actually the reason for the rest there was a trip abroad because he was accused of espionage

in favor of germany, he had some stamps left from this trip, which, when he was arrested, were found and he was accused of espionage in favor of germany, of espionage, eh, and here is this country, which, which did this, actually broke man's fate because he will die literally in five years from cancer, but in principle, it is obvious that the experience also somehow damaged his health. and this country, after all, says when, when he gains world recognition and world fame, she says: this is a russian artist, and malevich is written everywhere a russian, i am, this is my introduction to that, to malevich's ukrainianness. please tell us what, what arguments do we have that this is a person of ukrainian cultural identity?

well, we can talk about a number of, let's say, things that defined malevich, his personality, his views, his attitude to art, in addition to the very fact of being born in kyiv, moreover, in kyiv on zhilyanskyi, this is important, because it was the environment of the old community , tragoman lived across the street from him. kokosachi, that is, it was the environment of people who actually dreamed about ukraine, and lived in this ukrainianness, ukrainian culture. and even , despite the fact that it was a polish family, yes, if such poles, impoverished nobility, were ukrainized, it is obvious that there were connections, yes, and it was all the same, if the environment mixed with each other. later, the malevich family lived in ukrainian villages until malevich actually turned 18. and this forever determined his attitude to life and in general some of his ideals in life, he writes in his autobiography at the end of his life that he admires the whole life of the peasants, he

i like their life, their houses , their clothes, their food, their art, and in general ukrainian peasant women were my first art teachers, this is his direct quote, so he imitates them in everything, he believes that this is real life, free life , he talks about... the fact that they live according to nature, harmoniously, that in the morning they go to the fields and work there singing, and in the evening they return home with the sun also singing, that is, for him, this is some kind of idyll that he is , well, already being there as a person and before by death, he knew that he was dying, he considered this to be a paradise on earth and his own paradise, that is, this ukrainian childhood was for him the best thing that happened in his life, and then he... very quickly understands that he has there is this desire to be an artist, yes, he is very interested in it, his mother supports him, teaches him all kinds of crafts, he actually learns from

ukrainians, from ukrainians as well, and he wants to plan this profession, and this is also connected with kyiv, actually, first of all, the one where he sees the picture for the first time, it was painted shop window, but he describes it like this, that it was a girl sitting on a donkey, peeling potatoes. and he was struck by how this was this skill of the artist, it was so realistic, yes, that you could get confused and think that this was a real, living girl, and it impressed him for the rest of his life, yes, that is, he remembers this image his whole life, in kyiv his mother buys him his first set of professional paints, in kyiv he enters the mykola murashko kyiv drawing school, in kyiv he enters the workshop of the professional artist mykola pemonenko for the first time, to whom he later appealed in his works and actually the central theme of his still such, let's say not necessarily realistic, but objective

painting, these are two peasant cycles, these are the 10s and then the end of the 20s, that is , a peasant for him, that the ukrainian peasant , whom he saw in his childhood, is a certain, well , the main actor of his paintings, and that is, he constantly turns to this theme, returns to it already mature, already... after suprematism in this so-called supernaturalist period of his late 20- x years, because this topic is not his lets go, but he believes that it remains relevant for him, that paradise, that ideal that he sees for himself, he sees precisely in the village. further, it is indisputable, that is, we are talking about those things now that shaped malevich, which influenced him, further, it is very important how much malevich influenced the ukrainian context, the ukrainian environment, and here it is very important for us... not these 20s years, when he returns to kyiv as an already formed artist, and he begins teaching at the kyiv art institute, he actually reformats education, because

him for... not only to teach, but also if to give such methodical instructions, to help rebuild this system, because malevich, he was also a theoretician, and he built his own pedagogical system in art, yes, that is, in him, he falls into this is the kyiv environment, he communicates with the new generation, he publishes a number of his latest articles, it is necessary to explain what the new generation is, the new generation - in the 1920s it was the main magazine in... probably in the entire soviet union, which was dedicated to modern art, it was published by mykhailo semenko, actually the leader of ukrainian futurism, who, being a young poet, already knew about malevich's suprematism and dedicated a number of suprapoetry to him, that is , suprematism in poetry, that is, this connection between semenko and malevich, in general, he has such tenacity in the decade, and now, in fact , at the end of the 20s, they are already communicating directly

and semenko invites malevich to publish. in the new generation, here in this second book, which i want to show today, yaryna tsymbel actually publishes the proof for the first time that malevich had a direct connection with the new generation, here is malevich's letter to poltoratsky, in which malevich, for example, sends his greetings to semenkov, yes, that is , if we are talking about a certain circle of friends, and, that is, friendly communication, some a certain interaction, there is actually a connection with... ukrainka, because malevich teaches at the institute together with svitozar drahomanov, svitozar drahomanov is a cousin of lesya ukrainka, he has a camera, he photographs objects and things and subjects and malevich's paintings, actually there, at malevich's request, he sends it to certain magazines, yes, that is, this is an environment that communicates very closely, they have joint projects, they do something together, they dream about something for the future, yes, that is, this is a very

important factor. when malevich was very closely inscribed in the ukrainian environment, again, his last lifetime personal exhibition takes place in the kyiv art gallery in the 30th year, and it has such a wild success there that extending it for a month, and and and then if malevich hopes that these paintings will be sold and remain here and in ukraine and for ukrainians, that is , there are a lot of topics that connect and leave malevich in... he is built , as it were, sprouts in this context, and please tell us about this amazing artillery in the village of verbivka, where artillery artillery was managed as i understand alexander ekster. what kind of artillery was it and what did malevich have to do with it? that's it, thank you for mentioning it, it's also a very important plot , in fact, if when malevich, yes, he didn't live in ukraine, but this connection would still

continue and continue, it's about art. the goal is in the village of verbivka. verbivka was the estate of natalia davydova. natalya davydova was actually the wife of the decembrist's son, she herself was from the ancient cossack family of gudym levkovych, and it must be said that this ancient cossack family also has its own strength and history in them. traditionally, this genus was associated with the creation of textiles and various crafts. they had it. stubble, who was engaged in paintings even in the times of the hetmanship, not paintings, i apologize, embroidery even in the times of the hetmanship, and here is natalya davydova under the wave of such modern trends, as we would say, at that time, he decides to open artil in his village and help the villagers, actually the residents of this village, to find their own money-making tool,

the implementation of which. things, it was fashionable then , many landowners created such artils, this is cherkasy, sorry, yes, yes, this is now cherkasy, it is not far from smila, kamianka, these are beautiful places, i went there recently with research, and this i strongly advise everyone to go and see these places, they are incredible, and actually davydova herself is an artist, she is friends with oleksandra ekster, oleksandra ekster is another great kyivan figure of this time, yes, because she actually lived most of her life in kyiv and implemented her projects in kyiv, and here is oleksandra ekster, she is the art director of this arttili, she forms the concept of this very end, as we would say, of this start-up, and she invites to the cooperation of various contemporary artists whom she knows from various cities of the soviet union already then, and from and even then.