the exhibition about what can be seen in it, it has already opened and you can visit it, but i will start with the name boreviter. boreviter is the name of one of the mosaics that was performed, in particular, by ala gorska and a group, yes, opanas zalevakha was there, yes, a group of her colleagues in mariupol in 1967, i want to clarify. at that time he had been in prison in prison since 1965, it seems, for 70 years for anti-soviet agitation and propaganda, that is, there were tons of other groups, there were many different creative groups, but zaretsky was there, there was zubchenko, that is pryshedko , by the way, zubchenko has a lot of mosaics in mariupol, but the fact is that... the fact is that these

mosaics were actually destroyed by the russians in the year 22, when did you think about the philosophy of the exhibition and the name, is that what you meant when you called her a boreviter? absolutely , but the whole hall of the ukrainian house, it is dedicated precisely to these mosaics and the destroyed mariupol and precisely to... this resonance of the fate of gorska, yes, because this is really a person who has experienced a lot of tragedies, and dismantling, destruction of works, and exclusion from the union artists, and later a brutal murder, and even today we have destroyed mosaics, that is , this whole story continues today, unfortunately, and this boreviter, he is, and there is another one. the tree of life, that's right, and this

is such a kind of palimses, because they were opened there by some kind of renovation, they were covered up, they were somehow there or closed, so the tree of life spent 40 years under a brick, and well, shortly before the full-scale invasion, they opened this mosaic, but for a very short time, actually now they are in a terrible state. i'm not sure what they are is it possible to restore it and will someone do it, in general, unfortunately, we actually only have two mosaics now in the territory controlled by ukraine, because gorska worked a lot in the east of ukraine, there are mosaics left in donetsk, but there is only one mosaic left in mariupol, well, we don’t know at least about today's state, but for some time. that's why it was whole, and that's a very, very

pity, again, the monumental heritage of gorska will be dedicated, there is a separate section of the exhibition dedicated to it, and this is a very important topic in the context of gorska, because it in fact, the only sphere where she had the opportunity to realize herself as an artist, because it was precisely in... art, by the way, here are these mosaics, now we are finishing about the boroviter and the tree of life, they are called the most valuable works of such urban monumental art that were in mariupol , and you say that everything is destroyed, here i want to show one book by oleksandr chernov and stanislav ivanov, these are actually researchers who collected and photographed. it is not only alya gorska

, in fact, there are also various mosaic artists, and this is what was actually preserved from the fact that i understand that everything has already been destroyed there in mariupol, and at least we will know what we have lost, i beg you, i beg you, mariupol is generally the city where there were most mosaics. was very actively rebuilt after the second world war, but in the end there were no such destructions as today, and eh , it seems to me that about 20 generally large works, mosaics, by various authors, existed before this tragedy, what remained there, we , we don't know, 20 years, i read that from 67 to 87 they made these mosaics, tell me, either

please, how, what is the meaning, allegorical, we will talk about her identity, civic position. but now i want to start with culture, yes, because actually what you show at the exhibition, what is its meaning for a person who has not come across her work, what is its meaning? and you know, the exhibition is large-scale, the figure is incredibly large-scale, and we can talk about gorska in different aspects, and we talk about her as an artist and as a dissident and as the center of this sixties movement, which is very important in general. for our history and modern history, and how this is the heart of the dissident movement in ukraine, and about various aspects of her creative path and the thunder of public development, this is actually

a mosaic hall, a separate hall will be dedicated to her works, her creative tandem les tanyuk , these are five plays that never came out, they were also banned, and everything she did, all her works, costumes, sets, anyway, two two, two plays were already banned at the stage of general rehearsals, they were supposed to come out, and it really, it could change the whole face and history of ukrainian theater, because in these works she turns to tradition. the avant-garde of the 20s, to the work of petrytskyi, who inspires her a lot, and these are absolutely bold, very interesting decisions, scenographic, absolutely innovative, and again, all this remained only in the form

of sketches that we present, and separately, definitely , we will talk about gorska's circle, about her... thinkers about the choice of identity itself, about the choice, the choice of ukrainianness, about the discovery of ukrainian culture by her, already at a sufficiently mature age, we have about it remember that she was already around 30 when she switches to ukrainian, when she learns the language from abedka, because she didn't teach it at school, and in general, she is a person who, well, let's say, did not exist. there were no homes for this , because she grew up in such a nomenclature soviet family, her father, he was a high -level official, soviet, he headed the yalton film studio, then leningrad,

then kyiv, and she too had an absolutely cloudless childhood, studying at an art school , then studies at the institute, the beginning of a career. such a very powerful the traditional career of a soviet artist, yes , and then everything changes dramatically, yes, and she discovers ukraine, ukrainian culture, she begins to learn the language, learns it at a good level, she writes her diaries in ukrainian, she begins to do some things, which at that time, well, no one expected. but who is it, it is known what was the impetus that a person chooses such an identity, it is difficult to say, i think it is a sum of influences, a sum of factors, i think that the same ktm, the club of creative youth had an influence, because it changed her environment , and new people appeared

next to her, very interesting, very bright young people, with whom they began to do performances in... they begin to do shevchenko holidays, but not as it is practiced in the soviet union, they open shevchenko, as severstyuk said, bronze shevchenko, and again in this context we can talk about her stained glass window, so let's talk about the stained glass window, let's finish about the creative youth club, it's happening. so this is the beginning of the opening of the club in general, it is a very interesting background to this, i.e. i know that this is also a sort of potomkin village planned,

a delegation from canada was supposed to come to ukraine, and they wanted to look at the club. where young people spend time and very quickly set up this club like that, but he started to live some absolutely, he got out of control, he started to live some... his life and very quickly they realized that this is dangerous, but nothing anymore could not act, it is in the harvest palace, so they gathered so, so they were allocated, again, this is under a guide komsomol, they were allocated a room, and they are starting, there are several sections, they are starting to put on performances, they are starting discussions, they are holding creative... evenings dedicated to repressed artists, and for a moment they are stus and symonenko, bright and

all, i.e. the whole whole, this is a whole group of people , you already mentioned the stained glass window, you handed over the stained glass window called mother shevchenko, please tell me what kind of story it was, because the loss of it, that is, the tragedy of fate, it repeats itself all the time somehow , because she is a woman... her work was not theatrical incarnated, so it was all destroyed, that's one thing, and now the stained glass window, what kind of stained glass window is it, what kind of story is it? the story is quite well-known, moreover, i would say that they know about gurska, mostly thanks to this dramatic event, it generally reveals the image of shevchenko, and by this time, until the 60s, he had already experienced many waves. sacralization, desacralization, that is, shevchenko was different, very different, and not

bronze, yes, but hungary finds its shevchenko, and this is a very expressive image, it really does not resemble anything, and very, very powerful, this is such a fierce, angry shevchenko, and... it is on the verge of grotesque, it is very bold, even today, stained glass, it is not so expressively resolved, but it is impressive, it really does not, absolutely does not correspond to this soviet dogma, about the singer of peasant slavery and the singer of the friendship of peoples, yes, this is the angry shevchenko, who hugs mother ukraine and... this story, and he also makes such a threatening gesture, with a

punishing right hand over his head, and this kobzar there, yes, he is holding a kobzar in one hand, the other will threaten, and all this is accompanied by the inscription: i i will raise up these little dumb slaves, and i will put a word on the guards of the columns, and i find it very ironic that this is the same as ktm. it started with some absolutely soviet such idea, so that it was the 150th anniversary of shevchenko, so it was in the red building of the university, the red building of the university, and in fact, when they presented the model in life, in life size, the rector, seeing it in the morning, he gets scared, and he destroys this stained-glass window with his own hands, just a window sill, there are, i have memories of mykhailyna kotsiubynska. actually one sixty brilliant, he says, she quotes the words of the rector, who says: why is mother ukraine so

sad, what kind of court, what punishment and on whom does taras impose, in general, why is ukraine behind bars, because we will actually show and show it, that’s right in this stained-glass window, it looks like an arrest, it could be like that, but i think it's like that, well, they're talking, that is, they see playing there. well, probably there wasn’t even such an idea, but it really is, and in general this topic with shevchenko, ktm and the actual youth at that time, they really they turn to shevchenko and begin to bronze him, they start next to these soviet boring insincere celebrations, they need to find some kind of tradition of their own, and they... begin to honor shevchenko as early as may 22, the day of his reburial, and

this simply causes a terrible fury in the government offices resistance and it seems to me that some komsomol official is also writing a resolution that, god forbid, the commemoration of shevchenko on may 22 is insulting. the russian people, so this is a documentary quote, because i am already a consequence, i am a witness of the consequences of this, because actually, that's how i understand it. what do you say, it is allahorska this tradition, well, one of those who started this tradition is to put flowers to shevchenko on may 22, and when i was a student, we studied, i studied in the yellow building, and we knew that june 22 you can't lay flowers on may day, because you can be called to the komsomol committee, you

can be called from the party, and those who were part of the party can be expelled, because that's the point. we are talking about ktm and about this one, let's say, this is how it all continues to influence, and in general, if the circle of gorska, it seems to me that it was such the germ of civil society, i.e. everything that this entire network of solidarity today, which... we see and the volunteer and aid network, it was formed just then, in its modern form, sometimes it is the same people, their descendants, it is simply an uninterrupted tradition, from there, and now i remember this poem that stus wrote about her, bright soul,

bright and neredai, and he says about these germs of this civil society, that we were little, so that... so only for prayers and hopes and but, but i want to say that i was impressed by this generation of people born somewhere between 20, 1928 and 45, in the west this generation is called the silent generation, and it seems to me that in ukraine, well, actually it was also a silent generation, if not for the sixties, that is, it really is like this no... a large own group of people, but they found their voice and they created, created a completely different face of the generation. you said, ostap zalevakh, she zalevakh was arrested in 65, 65, that is, this is this wave of arrests in 65, and 60 in the fourth

year there was this story with a layout, so absolutely, moreover, she knew some of these people by face, and she even

dedicated a poem to one of them, he was always around... these lines on the sabers sit hard and this is how she begins her letters to the bays , actually, about she knew about the persecution and the kgb in olivets, as they say, the hungarian one, she got into it from 1962, from the time when she was

actually with simonenko and tanyuk. open a burial ground in the bikovna, again in the ktm to them, they hold an evening of remembrance of kurbas, and they start, since it is really small a few years from lygia, you can talk about it, they talk about a shot revival, they talk about kurbas, and after that evening a woman approaches tanyuk and says that you are talking about solovki, and we have our own solovki here under kiev, and... tells them that this is a bullpen, and they are still naive enough, they go there, and tanyuk leaves this, this terrible episode in his memories. they come and see how children, and next to the pioneer camp, children playing football, with a child's skull, and it struck them, they were

absolutely shocked, both by the scope and size of this burial ground, and by 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 to the city council... a letter about , 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 for a couple more years, and they are planning to attack tanyuk, and gorskaya will be monitored, that is, in 1962 she is being followed and in 62 she is not exposed as a painter, that is, she no longer has exhibitions. and we will now talk about creativity in relation to exhibitions, i understand correctly that at your exhibition it is about it, because it is called

the largest exhibition, yes prolu uhorska, and here are all these stories that we are talking about now, yes the bullpen, the layout mother shevchenko , there and so on, it will all be possible, you have some artifacts, you somehow show it, these are all these topics, they... are revealed at the exhibition, and we are very grateful to the memorial center of bykivnyany graves, they provided buttons, they are the only thing left from 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 be a hall of course. representations that are related to the circle of communication of uhorska, and there will be a lot of portraits, her like-minded people, friends , stus, drach, svelychny, ah, there will be a separate hall

related to influences with dialogues with artists of the older generation, because this it is also very important for her, as an artist, and maybe we will talk about it separately a little bit, but here we are about a... stained glass window of mother shevchenko, we will present a sketch that has been preserved, and there will be an audiovisual installation created by modern artists, oleksiy sai, mykola marusyk and oleksandr kokhanovsky, this is such a huge, very impressive video installation with this stained glass window, we'll play it, we've got a recording that you'll be, i understand he 'll be demoing too.

you don't even see the color, it worked as if they felt that there was not enough time for all of them to declare themselves as artists, as people, as another ukraine, as other dimensions of realities, they created other realities, quite simply, they say that you hang out there with those sixties, they did not make any revolutions, if you were a participant there and all this you understood that this is revolution number one, then they were. and they gave birth to a new intelligentsia, the one that they created here in european ukraine, for the first time they cut off tens of years, destroyed it, it

was born in a new generation, well, i don’t know what it is called now, charisma, it had absolutely nothing that could to push away, something was burning in her, you know, of course... impatience for work, incredible love for art, and she never let a brush or a pencil out of her hands, she could just hug her, but despite all that, she was very sharp and categorically untruthful , allah was one of those people who very subtly felt any injustice. well, i don't know, it's not a flash, it's like an explosion, a mountain rises, and that's exactly how it is in full height, it's white

hair. and she's like, you're lying so loud, i just remember, and it felt like the hall was ironing, so if shoulders here, then they seem, as if they became lower and silence, you need to have great courage to oppose yourself to this fascist... essentially 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 memory, it is simply absolutely priceless that you took a testimony these people, how you use it at the exhibition, how it will sound at the exhibition, these will be plasmas, and people will be able to come and listen, just look, look, well, these people can be present , yes, yes, we definitely invite everyone. you know what you said that in 1962, that is , in 1962, they began to monitor ala gorska, yes, she is no longer exhibited, she cannot actually show her works anywhere, in 1968 she was expelled from the union of artists, for what? and she was excluded twice, the first time, yes, yes, yes, the first time she was excluded because of the wind. and

the second time for signing a letter, the well-known letter 139, where 39 ukrainian intellectuals, completely different people, actually wrote such a letter, well, let’s say, it is a letter, a letter, a protest against oppression, against the illegality of conducting political affairs, and this was a very bold step at that time, and for the second time gorska was excluded from the union, and they started, actually, this open conflict between her and the kgb began, and there i am, i correctly understand that it was paradzhanov’s first signature, parodzhanov’s was the first, and there yes.

such a story that they were carrying this letter by the kyiv-moscow train, they brought and handed over to the central committee comptiums, and what they were counting on, i think all the time about these people, what dzyuba was counting on, yes, when he stood up in the cinema of ukraine and made this manifesto essentially, 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 like this, and youthful naivety, it seemed to them that it was possible to come to an agreement with the authorities, that it was possible somehow to point out some shortcomings, yes, and actually they appeal to legality all the time , look, as if stalin's crimes have been officially condemned, de-stalinization has taken place, so 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 like a demonstration of solidarity, it's, i don't think they hoped for any positive reaction, it's more like a demonstration of what we are, that we are together, and that... we are against, actually, 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, and she goes away from monumentalism, that is, the theater is closed to her, performances are prohibited , it cannot be exhibited, and since it is monumentalistic, it is not surprising.