we will now talk about the stained glass window, let's finish about the creative youth club, it takes place in the 60s, i understand correctly, in general, the opening of the club is a very interesting background to this, that is, i know that it is also a kind of planned potemkin village , 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, began to live a kind of life of his own, and very much so they quickly realized that it was dangerous, but there was nothing they could do, it was in no palace, so they were going, yes, yes, they were allocated, again, it is under a guide, and... komsomol, they were allocated a room,

and they start, there are several sections, they start putting on performances, they start discussions, they hold creative evenings dedicated to repressed artists, and they are for a moment and stus and simonenko ikhtanyuk, and svetlychnyi and all, that is, the whole whole, this whole bunch, yes... what kind of story was it, because its loss, that is, the tragedy of fate, it is all time somehow repeats itself, the fact that none of her theatrical work was embodied, and all of it was destroyed, that's one thing, and now the stained glass, what kind of stained glass is this, what kind of story is this? the story is quite well-known, moreover, i would say that about gurska from... mostly thanks to this

dramatic event, she generally discovers the image of shevchenko, and by this time, until the 60s, he had already experienced many waves of sacralization and desacralization, that is, shevchenko was different very different bronze and non- bronze and non-bronze yes but. from hungary finds his shevchenko, and it's a very expressive image, it's really unlike anything else, and very, very powerful, it's such a fierce, angry shevchenko, and it's on the verge of grotesque, it's very bold, even today, stained glass, it's solved not so expressively, but he is impressive, he really is not absolutely... he corresponds to this

soviet dogma about the singer of peasant slavery and the singer of the friendship of peoples, yes, this is angry shevchenko, who embraces mother ukraine and this story, and he is also so threatening a gesture with a punishing right hand above the head, and this is a kobzar there he holds holds. a kobzar in one hand, the other is threatening, and all this is accompanied by an inscription, i will train these little dumb slaves, and i will put a word on the guard around them, and to me, i find it very ironic that this is the same as ktm started with some completely soviet such an idea, so that it was the 150th anniversary of shevchenko, so it is in the red building of the university, the red building of the university itself. when they

present the model in life, in life size, the rector, seeing it in the morning, is frightened, and he destroys it with his own hands this stained-glass window, just a window sill, is there, i have memories of mykhaila kotsiubynska, actually another brilliant 60-year-old, he says, she quotes the words of the rector, who says, why is mother ukraine so sad, what court, what punishment and on whom are you calling? why is the mother of ukraine so sad, what court, what punishment and on whom does taras impose, in general, why is ukraine behind bars, because this is what we will actually show and show , this is exactly how it is in this stained glass window, it looks like an arrest, it could be like that, but it seems to me that this is what they are talking about, that is, they see him playing there, well , there probably wasn’t even such an idea there, but yes , it really is, and in general, this topic with... shevchenko ktm

and the actual youth at that time, they really turn to shevchenko again and start to bronze him, they start . along with these soviet boring and insincere celebrations, 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 komsomolsky functionary also writes: the 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, because actually this is how i understand what you are saying, that this is an alagor tradition, well, one of those who started this tradition is to lay flowers like this on may 22, and... flowers to shevchenko, and when i was a student, we studied, i studied in the yellow building, and we knew that 22 you can't put flowers on june 1st, because you can be summoned to the komsomol committee, you can be summoned from parties, exclude those who belonged to the party, because this quote is actually a dinner, and it lasted until the 1989th year. this is again a story about persistence and how, how it all continues 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 all this network of solidarity that we see today, and the volunteer and aid network, it was formed just then, that is... in its modern form, sometimes it is the same people, their descendants, it is simply continuous the tradition is from there, and i now remember this poem that stus wrote about her, bright soul, bright and don't cry, and he says to the germs of this civil society, that we are little little beings, only for prayerful hope, and but, but i want to say that i was impressed. 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, really such a small actually a group of people, but they found their voice and they created. created a completely different face of the generation, you said ostap zalevaha, she zalevaha was arrested in 65, 65, that is, this is this wave of arrests in 65, and in 64 there was this story with a layout, so actually zalavakha was one of the co-authors along with bolskoun. and then at exactly the same time in 1964, dzyuba stands up, not in 1965, is it 1965 , internationalism or russification, he writes about internationalism or russification, and he stands up and

talks about the wave of arrests at shadow premieres of the forgotten ancestors of parajanov, and in principle , this is really not a silent generation because there is a great one there. she even dedicated a poem to the faces of these thugs and one of them, he was all the time next to her and zaretskyi's apartment on repa on the street at that time. chasno tereshchenkovska, he sat a little higher and watched, just watched, yes, and she wrote on the roof of the marten, yagawa on the rungs to sit hard, arnold is wondering where mrs. gorska is blocking, he was called arnold, i don’t

know if he is, but then they changed a little these lines on the sabers sit hard and that's how she begins her letters to the zalevakhs actually. but she knew about the persecution and the kgb in olivets, as they say in hungary, she got into it from... 62, from the time when she and symonenko and tanyuk, in fact, opened a burial ground in a bikovna, again in ktm to them they're having a memorial night for kurbas eh and eh they're starting because it's a really small few years from the league and you can talk about it, they talk about a shot revival, they talk about... about kurbasa, and after that evening a woman approaches tanyuk and says that you are talking

about solovki, but we have our own solovki here near kiev, and she tells them that this is a side house, and they are still naive enough, they go there, and taniuk leaves in his memories this, this terrible episode, that they approach and see how children, and nearby the pioneer camp, children are playing. in football with a child's skull, and it shocked them, they were completely shocked, both by the scale of the size of this cemetery, and by the fact that no one talks about it at all, that is, silence reigns, no one, everyone continue 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 for another

couple of years, and they will set him up for an attack on tanyuk, and in zagorsk they will set up surveillance, that is, since 1962, they have been following her, and since 1962 she has not exhibited as a painter, that is, in her there are no more exhibitions, we will now talk about creativity in relation to exhibitions, i understand correctly that at your... exhibition it is about it, so that it is called the largest exhibition, yes , the hungarian proletariat, these are all these stories that we are talking about with you now, yes, the bullpen, the model of shevchenko, to have there and so on, it will all be possible, you have some artifacts, you somehow show this, this all these topics, they are revealed at the exhibition, we are very grateful to the memorial center bykivnyanski mogili, they provided the buttons, this is the only thing left of the people

buried there, and we are exhibiting them, there will be a video, there will be tanyuk's texts, because actually nothing else not left, there will be a hall of course, a presentation related to uhorska's circle of communication, and there will be a lot of portraits of her like-minded people, friends. with the washes 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, but we are talking about the stained glass window of shevchenko-mother, we will present a sketch that has survived. and there will be an audiovisual installation created by modern artists oleksiy sai, mykola

marusyk and oleksandr kohanovskyi, this is such a huge, very effective video installation with with this stained glass window, we will reproduce it, we have a record that you will, i understand that it will also be shown, so actually these memories of ala gorska, and people who knew her, artists who knew her, let's go now him... let's see and then continue the conversation, ukrainian coast, this bridge from the amazon to the coast and back, this is the aligorsk formula for me, in general, you do not have ukrainian art at all, and you have only grayness, one, you even you can't see the color, it was working, as if they felt that there was not enough time for all of them to... declare about themselves, as about artists, as about people , as about another ukraine, as about other dimensions of reality,

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 as a participant there and all this, you would understand that this is the number one revolution, then they were europeans, and they created a european one here in ukraine, first it was born but... the intelligentsia, which they cut off for decades, destroyed, it was born in to the new generation, well, i don't know how it is now it's called charisma, in her... there was absolutely nothing that could push her away, she was burning with some kind of, you know, imperativeness of impatience for work, an incredible love for art, and she never let go of a single brush or a pencil from her hand, she, she could just pick it up,

but despite all that... she was very sharp and categorically untruthful, but she was one of those people who felt any injustice very subtly, well, i don't know how, it 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 that's how you lie, so loudly. i just remember, and the feeling was that i asked, but if the shoulders are here, they seem to be lower and silence, you need to have a lot of courage to oppose yourself in this 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 these pogroms, about this destruction of art during the soviet era, it just hurts to talk, it was at every step, here i listened, i thought about that actually in our broken historical memory it is... 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 the exhibition, it will be plasmas, and people will be able to approach and listen, just look, look, well, these people can be present, those who are so indisputable, we invite everyone, i

would have thought, you know, that you said that the 62nd, so the 62nd year according to ala gorska begins follow so she is no longer exhibited, she cannot actually show her works anywhere, c in 1968, she was expelled from the union of artists, for what? and she was expelled twice, the first time, yes, yes, the first time she was expelled for the stained glass window itself, and the second time for signing a letter, a well-known letter. 39, where there were 39 ukrainian mets, those intellectuals, completely different people, actually writing such a, well, let's say, it's a letter, a letter, a protest against oppression, against the illegality of conducting political affairs, and it was

a very bold step at that time. and for the second time , of course, gorska is excluded from the union, and after that, her open conflict with the kgb begins, and her open conflict with the kgb begins, and there i am, i i understand correctly that it was parajanov's first signature, parajanov's was the first, and there is a story that they took this letter on the kyiv-moscow train, brought it and handed it over to the central committee.

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, in fact , they appeal to legality all the time, but look, as if stalin’s crimes were officially condemned, de-stalinization took place, and so we have to somehow exist on the foundations of such a purportedly purified society, yes ah... already after these arrests in the mid-60s, yes, at the end of the 60s, these letters are rather a demonstration of solidarity, this. i don't think that they were hoping for some positive reaction, it is rather a demonstration of what we are, what we are together, and what we are against, actually, this

is courage, absolute courage, which, i promised to return to creativity, you said that she could not exhibit after 1962, but she obviously wrote something, did something, she belongs to monumentalism, that is, the theater is closed to her, it is forbidden performance, it cannot be exhibited, and since monumentalism, strangely enough , this pressure is powerful, it was less there, because it is the art of a collective, there somehow the responsibility is not individual, and this saves it to a certain extent, but again after all, in monumental art she finds for herself some essence-creating solutions, perhaps, which she would not have discovered in painting, and she

turns to, to her predecessors, predecessors and to folk art, this is really such a signpost for her, and again i still want to say that works are presented at the exhibition, this is also a bonus to the exposition, these are works. among the artists with whom she held these artistic dialogues are the works of petrytskyi, anatoly petrytskyi, and 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 that when you you are reading correspondence from opan. "zalevahoya, you understand, here is a person who is being persecuted all the time here, yes, another person is serving a sentence in mordovia, and they are talking about

art, about the fact that the new ukrainian art is, this is already a fact, reality, yes, and they feel called to carry this burden and, well, actually, not a burden, apparently, but this is a mission, that is, they, for them this is a mission , 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 you read these letters, they are published by mr. zalevakh of alagorska, yes, yes, yes, they are published, this is a separate book edited by lyudmila ogneva, the alagor soul of the ukrainian sixties, and i worked in the archive of literature in sofia, there are a lot of them,

there, again, these letters of hers are presented, 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, what was left was not theirs. a lot, 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 of andrei sheptytskyi in lviv, this is the sixties museum, the museum of literature, that is, in soviet times it was like that, they were somewhere in the reserves or somehow after that, after the murder. we will talk about her death later, but what happened to her works, when she was killed in the 70s, in fact, some works, they were already

in state collections, but there were not many of them, after that her son oleksiy zaretskyi handed over part of his works and archives to museums, this is a museum of literature, a museum of sixties, and again i want to say that there is a lot. we will show works from the actual family collection, this is a works from the collection of olena zaretska, she is the granddaughter of zaretska-uhorska, and she is actually also the co-curator of this exhibition, and now we will talk about prorska, about her life, and now i want to ask you about her story with her terrible death. which happened in the 70s, i once talked about it with yevhen svertyuk, because it was he, he came to this place, and

he actually saw this, this picture. well, in the cellar in vasylkovo, what do you know, what can you tell, you researched it, it’s deeper, for me it’s just some kind of terrible the 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... it was november of the 1970s, or december of 1970, in december of 1970, and as far as i understand, they were eavesdropping and preparing this surveillance and murder, she goes to the father-in-law of her husband veselki to get a sewing machine, she left early in the morning, they did not return when they started looking for her,

they found the body first. the body is decapitated the body of the father-in-law, and then, in fate, the murdered aluhorska, and a lot of legends arose around this, and it is clear that the fact that it is a trace of the kgb, well, it does not raise any questions, it is true. 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, tightening the nuts, he also was connected with the prague spring, that is, they realized that these liberal movements are very dangerous, that this... what about this

it is necessary to end it somehow , yes, that is, just to torture all of this under the asphalt, and someone is imprisoned for huge, terrible terms, but who with whom they cannot do anything, they just kill, this same gloss 139, this is also the 68th year, and they were accused that it was some terrorist organization from bandera and that... she also writes about it in her memoirs, that this is where the people of bandera, scoundrels, would roll, but they are accused of all kinds of sins, and it is clear that they wanted to scare, in general, they wanted this environment simply to terrorize, but in the end

they didn't succeed, that is, gorska... becomes a symbol, that is , they get an icon, but instead of a victim, and well , we actually know from further history, we know this photo, where vasyl stus is holding a photo at the funeral of alegorska, 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 conclude with this... what actually started this story, i would say , is a story of human catastrophe creative, yes, that is, this is a destroyed, destroyed artist, artist, destroyed generation, yes, which could have done much more, it somehow sounds different now, but for you, let's say , well, you obviously knew this before, but

it's just somehow for me personally, it somehow takes on completely new meanings, now that we see it in other examples, yes, yes, it absolutely resonates and rhymes, terribly rhymes with the modern destruction of ukrainian artists, ukrainian intellectuals by russia, that is, that's all continues it started not 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, largest exhibition ground, the exhibition of aligorska is taking place, and more than a bunch of works are presented , and she continues to unite people, that is, during her lifetime, she was a person of some

extraordinary... charisma and extraordinary beauty and.