in the fourth year there was this story with the mock-up , one of the co-authors was galina zubchenko , and then at exactly the same time in 1964 , the beak rises, no, in 1965, is it the 1965 year , internationalism or russificationism? fication and he stands up and talks about the wave of arrests at the premiere of paradjanov's shadow of forgotten ancestors, and in principle, this is a really silent generation, because there are many who speak, who speak, i understand that they followed ala gorskaya and she knew that she was being watched, so absolutely, moreover, she knew some of these guys by face, and... she even dedicated a poem

to one of them, he was all the time next to her and zaretskyi 's apartment on repa, on what was then modern tereshchenkovska street, he was sitting a little higher and watching, just watching, yes and she wrote on the roof of the marten, yagava, on the rungs to sit hard, arnold is wondering where... she starts her letters like that to the bays, actually , but she also knew about the surveillance by the kgb in olivets, as they say, gorska, she got there from 62- th year, from the time when they... ah from

in fact, simonenko and tanyuk open a burial ground in the bikovn and again in ktm to them they hold an evening in memory of kurbas and they start, since it is really a few years from lygia, you can talk about it, they say about her shot revival, they talk about kurbas, and after that evening approaches tanyuk. the woman says that you are talking about solovki, but we have our own solovki here near kiev, and tells them that this is a bookshop, and they are still naive enough, they go there, and tanyuk leaves in his memories this, this terrible episode, that they approach and see how children, and next to penertabir, children are playing football with a children's skull, and this... them, they were

completely shocked, and also by the scale, the size of this burial ground , as well as the fact that no one talks about it at all, that is, silence reigns , no one, everyone continues to be afraid, and they are completely naive, tanyuk writes a letter to the city council that the graves need to be put in order, but it is clear that no one answers them, symonenko will be beaten shortly after that and... he will live another couple of years and they will launch an attack on tanyuk, and zagorskyi will be monitored, that is, in 1962 , she is being followed, and in 1962, she does not exhibit as a painter, that is, she no longer has exhibitions , and we will now talk about exhibitions, about creativity, i understand correctly that your exhibition is about her, because it is named for... a larger-scale exhibition, yes

, the hungarian proletariat, these are all the stories we are talking about now, yes, the bullpen, the model of mother shevchenko, there and so on , it will be possible, you have some artifacts, you are something somehow you show it, these are all these topics, they are revealed at the exhibition, and we are very grateful to the memorial center bykivnyanski moghily, they provided the button and this one. what is left of the people buried there, and we are exhibiting them, there will be a video, there will be tanyuk's texts, because actually there is nothing left, there will of course be a performance hall, which is connected with the gorska social circle, and there will be a lot of portraits, her like-minded people, friends, a friend, a friend, a lover. there will be a separate hall

associated with influences and dialogues with artists of the older generation, because it is also for her as for the artist is very important and... and maybe we will also talk about it separately a little bit, but we are talking about the stained glass window of mother shevchenko, we will present a sketch that has survived, and there will be audiovisual installations created by modern artists, oleksiy sai, mykola marusyk and oleksandr kuhanovskyi, this is such a huge, very effective video installation with this stained glass window, we will show it. we have a recording that you will, i understand that it will also be shown, so actually these memories of ala gorska, and the people who knew her, the artists who knew her, let's give it now let's see and then continue the conversation, ukrainian coast, this bridge from the amazon

to the coast and back, this is the alegorskaya formula for me, in general you have... there is no ukrainian art at all, and you have only grayness, one, you are not even colored you see, it worked as if they felt that there was not enough time for all of them to declare themselves as craftsmen, as people, as another ukraine, as other dimensions of reality, they created other realities, quite simply, they say that you hang out there with these sixties, they have no revolutions did if you were a participant there and all this , you would understand that this is revolution number one, then they were europeans, and they created a european one here in ukraine, a new intelligentsia was first born, the one they cut off

for decades, destroyed, it was born in a new generation , well, i don't know what charisma is called now, there was absolutely nothing in it that could repel. she had some kind of burning in her, you know, obligation, impatience for work, an incredible love for art, and she never let go neither a brush nor a pencil from her hands, she, she could just hug her, but despite all that she was very sharp and categorical. not true, alla was one of those people who very subtly felt any injustice, well, i don't know how, it's not a flash, it's like an explosion, it rises - a mountain, and that's exactly how it is in full height, it's white hair, and she is like

that, you are lying, so loud, i just remember, and i had the feeling that... i asked, but if the shoulders are here, then they seem to have become lower, and silence, you have to have a lot of courage to oppose himself in this to the essentially fascist system, here is such an action, there was a fright for the entire soviet union, rebellious, talented, beautiful... pure spiritual people were led to execution, about those pogroms, about this destruction of art during the soviet era, it just hurts to talk, it was at

every step, so i listened, i thought about the fact that in our broken historical memories, it is simply absolutely priceless that you took the testimony of these people, how you use it at the exhibition, how it will sound at at the exhibition? it will be plasmas, and people will be able to come up and listen, just look , look, well, these people can be present , they are so sure, we invite everyone, i thought, you know that you said that in 62, that is, the 62nd year, according to ala gorska, they start follow, yes, she is no longer exhibited, she cannot... she can actually show her works somewhere, in 1968 she was expelled from the union of artists, for what? and she was expelled twice, yes , yes, the first time she was expelled for the stained glass window itself,

ah, and the second time for signing a letter, the famous letter 139, where there were 39 ukrainian marks of those intellectuals of various absolutely people actually write such a thing... well , let's say it's a letter, a letter, a protest against oppression, against illegality, the conduct of political affairs, eh, and this is a very bold step, at that time, and for the second time they exclude, of course, the horsian from the union, and they begin, this open conflict of hers with the kgb actually begins, huh? there, i am, i understand correctly that it was paradzhanov’s first signature, parodzhanov

’s first, and there is a story that they took this letter on the kyiv-moscow train, they brought it and handed it over to the central committee of the comptium, so and for what they counted on, but i think about these people all the time, what dzyuba counted on, yes, when he got up in the cinema of ukraine and made this manifesto in essence, and when he wrote internationalism. or russification , what did these 139 people count on when, when they already understood everything, well, everything was clear, how do you explain it, you know, it seems to me that in the first half of the 60s, it was still such youthful naivety, it seemed to them that it was possible to come to an agreement with the authorities, that it was possible to somehow point out some shortcomings, yes, and actually they always appeal to legality, look, it's as if officially... stalin's crimes have been condemned, de-stalinization has taken place, and we

must somehow exist on the basis of such a purportedly purified society, yes, already after these arrests in the mid-60s, yes, at the end of the 60s, these letters , it's more of a show of solidarity, i don't think they expected any positive reaction. yes, it is courage, absolute courage that i promised to return to creativity, you said that she could not exhibit after 62, but she obviously wrote something, did something, she goes into monumentalism, that is, the theater is closed for her, it is forbidden to put on plays. she can't, and since monumentalism

is, oddly enough, this pressure is powerful, it was less there, because it is the art of a collective, there is some kind of responsibility, it is not individual, and this saves it to a certain extent, but again , it is in monumentalist finds for himself some essence. solutions, perhaps, which she would not have discovered in painting, and she turns to her predecessors, predecessors and to folk art, it is for she is really such a guide, and again i want to say that the works presented at the exhibition are also such a bonus to the exposition, they are the works of artists with whom she is very artistic. logs led this and the works of petrytsky anatoly petrytskyi and portraits of petrytsky

authorship of gurska and the work of primachenko, the works of anna sobachko shostok, and the works of the baychukists, oleksandr seyenko and serhiy kolos, because it is true, when you read the father's correspondence with opanas zalevakha, you understand a person who... er is being chased here all the time, and another person is leaving punishment in mordovia, and they talk about art, about the fact that new ukrainian art is a fact of reality , and they also feel called to bear this burden, and well, it's not actually a burden, i guess, but it's a mission, that is, they are for them this is a mission, a new ukrainian art, as a connection. two such important things are boychukism or the legacy

of the avant-garde of the 20s and folk art, and where, where you read these letters, they are published by zalevakh alagorska, yes, yes, yes, they are published, this is a separate book, edited by lyudmila ognyava, alagorska soul of the ukrainian sixties and... i worked in the literary archive in sofia, there are a lot of them, and again, these letters are also presented there. wow, some marginalia, it 's very interesting to read. i will also ask you, in which museums are her works in the ukrainian and perhaps world museums that are left, there are not so many of them, unfortunately, but again , many museums and private collections have given us works for the exhibition, this is a national

art museum, this is the national museum of decorative arts, this is a... andrei sheptytskyi national museum in lviv, this is the museum of sixties, the museum of literature, that is, the soviet times, they were in storage somewhere or somehow, after that, after the murder, we will talk about her death, but what happened to her works, when in in 1970, she was killed, in fact , some works were already in state collections, but there were not many of them, p... after that, her son oleksiy zaretsky handed over some of the works and archives to museums, this is the museum of literature, the museum of sixties, and again, i want to say that we do a lot of work we will show from the actual family collection, these are works from the collection of olena zaretska, this is the granddaughter

of zaretska-uhorska, and she is actually also a co-curator of this one. bets, and i, now we will talk about ala gorska, about her life, and now i want to ask you about this story of hers with her terrible death, which happened in the 70s, i once talked about it with yevhen svirtsyuk, so what exactly was he, he came to this place and he actually saw this painting in the cellar in vasylkov, and... what do you know, what can you tell, you researched this deeper, for me it's just some kind of terrible event, which, as a metaphor for her life in general, for all these people, the 60s, who are actually there, this is the beginning of this stagnation and

horror regarding ukrainian culture, what happened in that time in this was it november, so 70 or december? as far as i understand, they were eavesdropping and preparing this surveillance and murder, she goes to the father-in-law of her husband, vaselki, to get a sewing machine, she left early in the morning, they did not return when they started looking for her, but they first found the bodies, body beheaded, body. the mother-in-law, and then in fate killed alugorska, and a lot of legends arose around this, but it is clear that the fact that it is the kgb, well, no , it does not raise any questions, it really was,

they simply could not do anything . with gorska, that is, she was such a powerful charismatic person, on the one hand, on the other hand, she was a certain symbol, a woman, an artist, and thirdly, it seems that this process of tightening the nuts, it was also connected with the prague spring, that is, they understood that these are some liberal movements, they are very it's dangerous, that this has to be somehow... ended, yes, that is, just torture everything under the asphalt, and someone is imprisoned for huge, terrible terms, but someone with whom they can't do anything, they just kill, 139 were arrested, this is also the year 68, and they, they were accused that

it was some bandera terrorist organization, the leader was there, she also talked about it... it is clear that they wanted to scare, in general, they wanted to the environment is easy to terrorize, but in the end they have nothing it turned out, that is, gorska becomes a symbol , that is, they get an icon, but instead of... a victim , and well, we know the subsequent history, we know this photo, where vasyl stus holds a photo at alegorska's funeral and... he holds this large portrait of gorska as an icon , in fact, but everything is written on his face, that is, it is clear what a loss it was for them, and now i want to end with what

i started, in fact, this story, i would say, it is the story of the disaster of a creative person, yes , that is, this is a destroyed, destroyed artist, village woman, destroyed generation, yes, which one could do... much more, it sounds somehow different now, but for you , let's say, well, you obviously knew this before, but it's just some, but for me personally, it takes on some completely new meanings, now that we we see other examples of this, so it absolutely resonates and rhymes, terribly rhymes with the present-day destruction of russia. ukrainian artists, ukrainian intellectuals, that is, it all continues, it did not start yesterday and no, not 100 years

ago, that is, this is such a terrible link in this chain, but on the other hand, i understand that today in the largest, the largest exhibition site, an exhibition is being held... more than a bunch of ligorskaya's works are presented and she continues to unite people, that is, as in her lifetime, she was a person of some extraordinary charisma and extraordinary beauty, both external and internal, and now she continues to unite people, that is, a large number, a huge number of people, institutions, but now, during the war, they were not afraid to leave their warehouses. artistic to provide works, we publish now a book, with these works with texts

of our leading art critics, i.e. uhorska continues to be such a leader, role model and icon of opera, tell me with whom you are doing this exhibition, i.e. who are you co-organizers, so dukat is a singer, who else? we are the initiators, the ukrainian house, i actually went to the meeting, we are doing it together with the ukrainian house team, and again, these are museums, these are private collectors, i am constantly thinking, you know, whether we will be able to return it all, that is, sometimes it seemed that all this was killed in basements, in cellars, rolled in concrete, in asphalt, and here is this exhibition, yes, well it gives no... hope that we can turn around and see everything, do you believe that, well, at such a bad hour, to be honest, yes, we will be able to get all these guys

back, this to save a tiny bit of memory, is it at all possible, do you believe in it? i think that without it we cannot survive, that it is a memory, it is a basis. of our culture, this is what unites us with previous generations, that i am like gorska with my friends, they open a bullpen, and this changes the awareness in society in general, yes, that is, this information is no longer possible to forget, she continues, continues to circulate in these circles and she emerges at the end of the 80s. and again the same sixties, those of them who, who survived, they played an invaluable role in the formation and revival

of ukrainian statehood, it is clear that they were very quickly moved from the historical arena by voucher privatization enthusiasts, it is clear that they were complicated at that time, but... this, this is their legacy, it does not disappear, it is all transformed, it remains in the historical memory, thank you elena, so the exhibition will last until april, yes until the end of april, yes until the end of april, everyone, everyone who is interested and who was interested in our conversation, and the work of ala gorska and in general their whole generation, come to the ukrainian house in kyiv and see for yourself.. a bet on the works of ala gorska. thank you for being with us, thank you elena. see you in a week. tired of heavy and bulky

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