stigorsky, because this is actually the only area where she had the opportunity to realize herself as an artist, because it is precisely in these mosaics, in monumental mental art, by the way, here are these mosaics, now we will finish with the wind and the tree of life, they are called the most valuable works of urbanism of monumental art that were in mariupol, and you say that everything... has been destroyed, here i want to show one book by oleksandr chernov and stanislav ivanov, these are the researchers who actually collected and photographed all of them, it is called all shades of mariupol mosaics, it is not only alya gorska, actually there are also various mosaic artists here, and this is what, in fact, was saved from the fact that, well , i understand that everything has already been destroyed there in mariupol, and well.. . at least we

, we will know what, what we have lost, i beg you, i beg you, mariupol is generally the city where there were most mosaics, it was very actively rebuilt after the second world war, but in the end, there were no such destructions as today , and there, it seems to me, about 20 generally large mosaic works, by various authors, existed before... of this tragedy, what was left there , we, we don't know, 20 years, i read that from 67 to 87, these, these mosaics were made, made, please tell me which, what is the significance of allygorsky, we will talk about her identity, her civic position, but now i want to start with culture, yes, because actually, what do you show at her exhibition? what is its

meaning for a person who has not encountered her work, what is its meaning? and you know, the exhibition is a large-scale figure, an incredibly large-scale figure, and you 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, that is, this creative path and social development, this is actually a hall of mosaics, a separate hall will be dedicated to her works, her creative tandem behind the lesemyuk, these are five performances that never came out, they were also behind

the stage dress rehearsals, they were to come out, and this is true, it could completely change the face and history of ukrainian theater, because in these works she turns to the tradition of the avant-garde of the 20s, to the work of petrytskyi, who is very inspiring. 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, we will definitely talk about gorska's circle, about her like-minded people, about her own choice identity, about the choice... the choice of ukrainianness,

about the discovery of ukrainian culture by it, already in mature enough, we have to remember that she was already around 30 when she switches to ukrainian, when she learns the language from abedka, because she didn't learn it at school, and in general she is a person who, well, let's say, there were no prerequisites for this, because she grew up in... such a nomenclature soviet family, her father , he was a high-level official, soviet, he headed the yalta film studio, then the leningrad film studio, then the kyiv film studio, and she, too , was absolutely a cloudless childhood, studying at an art school, then studying at institute, the beginning of a career, such a very powerful, 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 engage in some things that at that time , well, no one expected her to do, but who knows what became the impetus, that a person chooses such an identity, it is difficult to say, i think , that it is the sum of influences, the sum of factors, i i think that the same ktm, the club of creative youth , had an influence, because it changed her. environment and new people appeared near her, very interesting, very bright, young people, with whom they began to do performances, they begin to do shevchenko holidays, but not not not like this, not like

how it is practiced in the soviet union, they open shevchenko, as severstyuk said, is being bronzed. shevchenko, and again in this context we can talk about her stained glass window, so what is absolutely about arbitration, let's finish about the club of creative young people, it happens in the 60s, i understand correctly, this is the beginning of the opening of the club in general, it is a very interesting background of this, that is, i know that it was also planned in a way. a delegation from canada was supposed to come to ukraine, and they wanted to look at the club, where, where young people spend time, and very quickly, they set up

this club, but it began to live somehow, it got out of control, it began to live somehow their lives, and very quickly they realized that it was dangerous, but already nothing could be done. this is in the october palace , so they gathered, yes, yes, they were allocated, again, this is under the auspices of the komsomol, they were allocated a room, and they start, there are several sections, they start putting on performances, they start discussions, they hold creative the evenings are dedicated to repressed artists, and they are for a moment and stus and... yes, and luminary, that is, the whole whole, people, you already mentioned the stained glass window, you mentioned the stained glass window called mother shevchenko, please tell me what it is what a story it was, because its loss, that is, the tragedy of fate, he

all the time something like this repeats itself, the fact that none of her theatrical work was embodied, and all this was destroyed, this is one thing, and now the stained glass window. what is this stained glass window, what is this story? and 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, by the 60s, he had already experienced many waves of sacralization , desacralization, that is, shevchenko was... and not bronze, but hungary finds its shevchenko, and this a very expressive image, it really does not look like anything else, and very, very powerful, it is such

a fierce, angry shevchenko, and eh, it is very grotesque, it is very bold, even today, the stained glass window is... not resolved so expressively, but he is impressive, he really does not completely correspond to this soviet dogma about the singer of peasant slavery and the singer of the friendship of peoples, yes, this is an angry shevchenko, who embraces mother ukraine and this story, and he is also such a threatening gesture. with a punishing right hand above kobzar's head there he is holding a kobzar in one hand , threatening others, and all this is accompanied by the inscription, i will call out these little dumb slaves and be vigilant around them, i will put a word, and i find it very

ironic that it is also the same as ktm started with some completely soviet such idea, so that it was 150-riya. yes , yes, yes, the red building of the university, and in fact, when they present the model in life, in life size, the rector, seeing... it is morning, he is afraid, and he destroys this stained glass window with his own hands, just overhangs, i have the memories of mykhailyna kotsyubynska, actually another brilliant sixty-year-old, he says , she quotes the words of the rector, who says: why is the mother of ukraine so sad, what court, what punishment and on whom are you calling taras, in general, why is ukraine behind bars, because it is we will actually show it and... it could be like that, but

i think it is like this, well, they are talking, that is, they see playing there, well, probably there was not even such an idea, but it really is so, and in general, this topic with shevchenko, ktm and the actual youth at that time, they really are again turns to shevchenko and begins to unbronze him. they start along with these soviet boring and insincere celebrations and they have to find some kind of tradition of their own and they start honoring shevchenko as early as may 22, the day of his reburial, and this simply causes terrible resistance in the government offices , and it seems to me that some komsomol functionary is also writing a resolution that god bless the memory, the commemoration of shevchenko

on may 22 offends the brotherly russian people, so this is a documentary quote, because i am already a consequence, i am a witness of the consequences of this, so that actually, i understand that you say that it is allahorska this tradition, well, one of those who started this tradition, to put may 22 that way. flowers to shevchenko, and when i was a student, we studied, i studied in the yellow building, and we knew that on may 22 you cannot lay flowers, because you can be summoned to the consomol committee, you can be summoned from the party, whoever was a party member to exclude, because this very quote that you love is lunch, and it lasted until 80, which year, this is again a story about endurance and about how does it all continue to influence, and in general,

if we talk about ktm and about this, let's say, this circle of gorska, it seems to me that it was such a germ of civil society, that is, everything that this entire network of solidarity today, which we see, and a volunteer and aid network, it was formed. just then, but in the modern form, sometimes these are the same people, their descendants, this is just a continuous tradition from there, and now i remember this poem that stus wrote about it, yaridushe yarij i neredai, and he says to the germs of this of civil society, because there are so few of us, 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 1945, 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 it were not for the sixties, that is, it is really such a small group of people, but they found their voice and they... created, created absolutely something else the face of a generation. you said ostap zalevahalevaha was arrested in 65, 65, that is, this is this wave of arrests in 65, and in 604 there was this story with a mock-up, actually zalavakha was one of the co-authors. yes, galina zubchenko, and then at the same time in 1964, dzyuba,

no, in 1965, it is 1965, internationalism, does he write internationalism or russification, and he stands up and talks about the wave of arrests at the premiere of the shadows of parajanov's forgotten ancestors, and in principle, this is really not a silent generation, because... whom i knew in person she even dedicated a poem to these fathers and one of them, he was all the time next to their apartment with zaretsky on the reep on the then street of modern tereshchenkovska, he sat a little higher and watched, just watched

and she wrote on the roof. kunya yagawa on the steps to sit hard, arnold is wondering where mrs. gorska is blocking, he was called arnold, without me knowing him, yes, and then they changed these lines a little to na on the sabers to sit hard, and this is how she begins her letters to the bays actually , but she is about the prosecution the kgb in olivets, as they say the mountain, also knew, she was caught. from the 62nd year, from the time when they, in fact, with simonenko and tanyuk , opened a burial ground in the bikovna, again in katem, they held an evening in memory of kurbas and they started, since it is really

a few years from the league, you can talk about it talk, they talk about a shot bucket. tanyuk leaves this terrible episode in his memories, that they approach and see as children, and grandfather's pioneer camp is nearby. playing football with a child's skull, and it struck them, they were absolutely shocked, both by the scope and size of this cemetery, 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

a letter to the city council that the graves it is necessary to organize, it is clear that... whoever does not answer them, symonenko will be beaten shortly after that, and he will live for another couple of years, and they will set him up for an attack on tanyuk, and zagorsky will be put under surveillance, that is, in 1962, after her are being monitored, and on the 62nd it is not presented as a painter, that is, she no longer has exhibitions, and we will talk about exhibitions now, about creativity, i understand correctly... that at your exhibition it is about her, because it is called the largest exhibition, so pro-mountainous, here are all these stories about we are talking with you right now, so the bullpen, the model of shevchenko and so on, it will all be possible, you have some artifacts, you show something somehow, these are all

these topics, they are revealed at the exhibition, we are very grateful. memorial center of bykivnyansky graves, they provided buttons, this the only thing that remains 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 else left, there will be a hall, of course, of performances, which are connected with the mountain communication circle, and there will be there are many portraits of her. like-minded people, friends, stus, drach, svitlychny, there will be a separate room related to influences with dialogues and washings of the older generation, because it is also very important for her, as an artist, and maybe we will talk about it separately a little bit, but we are talking about

the shevchenko mother stained glass window, we will have it a sketch is presented, some... and there will be an audiovisual installation created by contemporary artists, oleksiy sai, mykola marusyk, and oleksandr kokhanovsky, this is such a huge, very impressive video installation with this stained glass window, we will reproduce it, we have a recording that you will be, i understand that it will also be demonstrated, so actually these memories of ala gorska, and people who knew her, artists who knew her. let's watch it now and then continue the conversation, ukrainian coast, this bridge from the amazon to the coast and back, this is for me. formula alegorskaya, in general, you do not have ukrainian art at all, and you have only grayness, one, you don’t even see color,

they worked, as if they felt that there was not enough time for all of them to declare themselves as artists, as for people, as for a different ukraine, i am talking about other dimensions of reality, they created other realities, quite simply, what are you... hanging out there with those sixties, they did not make any revolutions, if you were a participant there and all that you realized that this is revolution number one, they were europeans and they created a european ukraine here, first a new intelligentsia was born, the one they cut off for decades, destroyed, it was born in a new generation, well, i don't know what it's called now. charisma, there was absolutely nothing in her that could repulse her, there was a kind of burning in her , you know, the obligation of impatience for

work, an incredible love for art, and she never let go of a brush or a pencil from her hands, she , she could just cuddle like that, but... but despite all that, she was very sharp and untruthful. ala was one of those people who felt any injustice very subtly. well, i don't know, it's not a flash, it's like an explosion. a hill rises, and that's exactly how it is in full height, it's white hair, and it's like that, you're lying, that's all. loud, i just remember, and the feeling was that the hall was silent, but if the shoulders are here, then they seem to have become lower and silence,

one must have great courage to oppose oneself 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, 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, but i listened, i thought about what is actually in our torn memory. historical, it's just absolutely priceless that you took the testimony of these people, how you use it at the exhibition, how it will sound on

at the exhibition, it will be plasmas, and people will be able to come up and listen, just look, look, and these people can attend those, of course, we invite everyone, i thought, you know what you said that on the 62nd, therefore, the 62nd year begins for ala gorska. follow, 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 expelled twice, the first time, yes, yes, yes, the first time she was expelled for the stained glass window, ah, and the second time for signing the letter. the famous letter 139, where 139 ukrainian intellectuals, those intellectuals, completely different

people, actually write 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 a very bold step, at that time and for the second time , gorska was excluded from the union and this open conflict between her and the kgb began? and there i am, i understand correctly that it is parajanov's first signature , parajanov's was the first, and there is a story that they took this letter on the kyiv-moscow train, they brought it and handed it over there to... the central committee of the party, that 's what they were counting on, i think about these people all the time, what dzyuba was counting on, yes, when he stood up in the cinema

of ukraine and did this. manifesto essentially, and when internationalism or russification was written , 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 that , ah, youthful naivety, it seemed to them that it was possible to negotiate with the authorities, that it was possible to somehow point out some shortcomings, yes, well, actually they are all the time. they appeal to legality, look, as if officially, stalin's crimes have been condemned, de-stalinization has taken place, yes, and we somehow have on the foundations, here is such a cleansed, supposedly society to exist, yes, ah, already after these arrests in the mid-60s, yes, at the end of the 60s, these letters, this is more of a demonstration

of solidarity, this... i don't think they expected any positive reaction, this rather, this is a demonstration of what we are, what we are together, and what we are against, actually, yes, this is courage, absolute courage, that i promised to return to creativity, you said that she could not after 62 to exhibit, but she obviously wrote something, did something, and she goes into monumentalism, that is, theater for her closed. she can't, and since monumentalism, strangely enough, this pressing is powerful, it was less there, because it is the art of a collective, there somehow the responsibility is not individual, and this saves her to a certain extent, but again

, she is in... the mentalist finds for herself some purely creative solutions , perhaps which she would not have discovered in painting, and she turns to her predecessors, and predecessors and to folk art, this is really such a signpost for her, and again i want to say , which is at the exhibition presented works, this is also such a bonus to the exposition. these are the works of the artists with whom she conducted these artistic dialogues, these are the works of petrytskyi, anatoliy petrytskyi, and the portraits of petrytskyi, by horska, and the works of prymachenko, the works of anna sobachko shostok, and the works of the boychukists, oleksandr seyenko, and serhiy kolos, because it is true when you

read the father's letter. with opanas zalevakha, you understand, here is a person who is being persecuted here all the time, yes, another person is serving a sentence in mordovia, and they are talking about art, about the fact that new ukrainian art is a fact of reality, and they feel called to carry this burden, and it's not actually a burden, it's a mission, that is. for them, this is the mission of new ukrainian art as a combination of two such important things, boychukism or the legacy of the avant-garde of the 20s and folk art? and where, where do you read these letters? are they issued by mr. zalevakh of alagorska? yes, yes, yes, they are published, this is a separate book, edited by ludmila.

alagora soul of the ukrainian sixties, and i worked in the archive of literature in sofia, there is a lot of it, again, these letters of hers are presented there, and sketches, some marginalia, it is very interesting to read, i will also ask you, in which museums of ukraine and possibly world museums are her works that are left ? there are not so many of them, unfortunately, but again , many museums and private collections gave us works for the exhibition, this is the national art museum, this is the national museum of decorative arts, this is the national museum named after andrey sheptytskyi in lviv, this is the sixties museum.