from caterpillars and tractors. this type of transport is used by black loggers to take away the looted wood. and now we can see tracks in the forest from small tractors, from various equipment that went out and actually took away this illegally cut forest. and there are a lot of such scars in the forest, as you can see, there are much more rips and tracks from a more massive tractor. and actually legal logging here. was not appointed, we talked with the foresters on the eve of the survey, we walk along the path and notice the first misses, the absence of a brand on the sections and scattered sawdust indicates illegal felling. this is what an illegally cut fresh tree looks like, you see, neither the law enforcement officers nor the foresters have had time to put any brand here yet, so what we are doing now is fixing the diameter in two directions with the aim of calculating the average. the diameter of this section, and

damages will be calculated based on this diameter, the violators take the cut trees to sawmills, - explains activist volodymyr yarotskyi, there they are cut into boards and beams, so the plots are enriched by the theft of natural resources, and forests are becoming bald in front of our eyes, during such illegal actions, illegal felling , the above-ground cover is also destroyed, the soil is destroyed, the ground is destroyed, the plants are broken, the undergrowth is destroyed, and of course, the forest and forest environment changes a lot. a subsidiary company, starosambirsky galsil forest, is responsible for most of this forest. for six years, activists have been recording illegal fellings here, covering an area of ​​20 hectares, overseen by foresters, they mark arbitrarily destroyed trees with a special brand. our... forests

turn into sawdust that does not enter either the state budget of ukraine or the local budget. at the request of local employees of the state environmental inspection, they went to starosambir forestry and recorded illegal felling. for 2023, experts estimated state losses in this area at 17 million hryvnias. our materials are sent to the police authorities, they are treated at home. the prosecutor's office, which supports these materials, and further actions take place within the framework of criminal proceedings, and accordingly, i repeat that our specialists are also involved in the framework of criminal proceedings to go out together with the investigative task force. 70% of arbitrary fellings are recorded precisely in the starosambir district, 30% are accounted for by other gausi forest enterprises. such statistics are provided by the acting general director. according to ivan pidhoretskyi

, illegal felling is due to the fact that the area is not gasified and residents heat their homes with firewood, but there are still about a hundred palorams working in this area, that is, there is a great demand for wood. since 24 years 16 cases of arbitrary felling were discovered, with a cubic mass of 89 m3, this is the damage caused to our, well, our company and the state on... this is literally in two months, part, part of these cases, a forest trespasser was found, who was brought to justice, who must pay the damages , some are not detected, because we detect them, we officially submit these documents to the police, the police conducts an investigation, and is looking for the people who caused these losses in order to solve the problem, the acting director of the enterprise plans to install night camera traps. on

the territory of the hausil forest in staro sambir, information about criminals will be passed on to the police, expensive cameras are promised to be purchased with grant funds. kateryna oliynyk, nazar melnyk, oleg palyamar, espresso tv channel. greetings, good evening. my name is myroslava berchuk. this is a self-titled program, a joint project of ukrainian foam and the tv channel. today. we will return the name, the name of the great world-class ukrainian artist oleksa novakivskyi, an artist who was born in podilla, studied in odesa, at the krakow academy of arts, glorified lviv and all of ukraine. today we have a guest, this is dzvenislava novakivska, great-great-granddaughter, great-granddaughter of oleksans novakivskyi and the initiator of the novakivsky special project. congratulations. hello, thank you for the invitation.

dzvenislava, thank you for finding the opportunity to come to us and talk about oleksa novakivskyi. i will start with one phrase that resonates with me terribly. this is the phrase of taras luzynskyi, an icon painter from lviv , to a collector, a collector who said the following: i hate the expression novakivskyi is talented a ukrainian artist, he is a world -class artist, no one will put him on a pedestal, except for us. i think that this can be said not only about nobakivskyi, but also about many ukrainian artists who are misunderstood and under-seen by us, yes. er, tell me, please, what is the uniqueness and value of novakivsky and why is he still not on the pedestal, in your opinion? huh, i think the first one will be easier, the second one will be more difficult, uh, why these, what's the value? well, we know

all the world names, it's klimt, monet, van gogh, and these are the people who essentially helped the world civilization, world art to move. from such monochrome photographic art, which was more about photographing reality, to move to a completely different world, where there is an understanding of oneself in this life through art, and this is how different currents were born, in european countries, where this also happened, so therefore a world-class artist, and and why is he still not perceived as such in ukraine? most people, this is still a mystery to me, yes, but if we look at the history of the classics of others, because in fact, it is a classic, and how many years did it take us to start unpacking and rethinking lesya ukrainka, not just like

a forest song, but one that actually rethought, through antiquity, rethought who ukraine is. what is the fate of ukrainians, and through ancient works she rearranged and retranslated them. novakivskyi based a large part of his works, he actually also based them on the revival, and there are a lot of symbols of the revival, there are actually a lot of reinterpreted myths that he transferred, which yes, let's say, for the average person in soviet times, it was very harmful, huh. it was impossible to enter the world context at all, it was, it was dangerous, it was dangerous, and that 's exactly why, if we're talking about him, one of the reasons is that he was procrastinated by the soviet authorities, i'm sorry, procrustean bed he passed,

and this, in fact, is precisely this procrustean bed, it led to the fact that they cut off everything they could from him and left such a scrap that, well, from time to time we had a scrap shevchenko and, as a singer of the poor people, well , this was a fragment of a man who could actually paint peasants, and that is, this ethnography, this is the only thing that was left, how it could be inscribed at least somehow in a socialist realist life, and if as a certain , as some certain element, at the same time, like the same taras luzynskyi, he said, there is a big problem with us art critics, precisely because, well , we actually... the school of art critic, it was in moscow, yes, that what happened in kyiv at the level of knowledge and art research was very much persecuted and limited, and it went through the colonial narrative, and therefore it is absolutely normal that now we have a lack of

such educated art researchers who could unpack such layers and reinterpret them in modern realities, and. you explained very well his pulsating style, what is it, how do you feel it, what is the pulsating style of novakivskyi? oh, this is a very good story, because as a promotion expert i have to say that i was lucky, because the godmother of the novakivskyi space project became the famous art critic diana klitschko, and she just paid attention to what she was saying: look, all living objects, that is , all of them both... people and plants, and in novakivskyi, they have a pulsating contour, which means that it is multi-layered so, you know, and when we started discussing with her what that might mean, we explored that maybe it's just about this pressure of time, and

with the onset of full-scale war, i realized that it fits very well into this concept, because when we are under strong psychological or physical pressure, then essentially our... the body is compressed and when compressed begins to vibrate, and this vibration of the body compressed under the pressure of time, challenge and crisis, and it... actually he depicted it like this, and this is his discovery, his style, which is unexplored , not named yet, but it is clearly, well, his, his paintings can be recognized very quickly precisely because it is his style, and his his paintings, because of this special contour, and you are very right to say that this feeling , a feeling of the tension of the war, the uncertainty of what this was and this just a painter who... goes through and works during the first world war

and before the second world war and before the second world war, but i am referring to his actual work, the angel of death, an impressive work where the angel stands and holding a young man, the body of a young man, can you tell me about this painting, what it means, what it means to him, what was there, who is this young man, and... i will say right away that this is one of the works that he dedicated i wanted to say to the snipers, and actually to those soldiers who went to defend the country, but even then it was not yet a country, and this work, it is exactly that, once again we take an ancient image, it is an angel of death, who with dignity gives the opportunity of transition to someone who fought for his country , to go this way, it is interesting that, in fact, he is, in general

, very much about the angel of death, about the river styx, he has a lot of meaningful reflections, and he also has such a story that what is the end , is the beginning, and this very transition, it is important so that this beginning... has a different energy, a different intention, and it is significant that he clothed the angel of death not just in the usual wings, but he gave him hutsul clothes, as it were, exactly hutsul clothing, which flutters like wings behind, behind this angel, and as if giving honor to the special feature, because angels , they don't wear clothes, but they don't wear hutsul clothes even more, but it's like a certain connection between respect for this dignity, which

this warrior has in himself, and this dignity as a connection with the roots , for which you stood, and then these roots are in transition, and it is being built, further is built into the future life of both the deceased and the following generations. listen, this means that he had a very good understanding of world culture and art, it gave. was this education provided by the karakiv academy of arts or was there something else where he acquired this knowledge ? it is interesting that there is actually only one of ivan golubovsky's memoirs, this is his biographer, it must be said that this is his biographer , a person who is his friend, yes, it is almost like a brother, as vangoga was his the brother who worried about him was ivan golubovskyi, who was just as named brother and in these memories, and he mentions odesa from how novakivskyi talks about odesa, and this

ode, it’s not even the krakow academy, it’s odesa, in which he spent almost all the money he earned on books, ugh, and here is one of the scenes there is a time when, it means, he portrays, portrays exactly the family that invited them, and in the process they consider what else he has there, and there is a lakoon, and actually just... he says that i am investigating , study mythology, i study michelangelo, i study the renaissance itself and try to reproduce and to catch this art through getting to know him and learning to follow it, and it was important for him even before the krakow academy, since you already talked about odessa, i will ask you now about studying in odessa and about studying in krakow, you know that i was interested in that. that the education in odessa was actually paid for

by a local forestry engineer, and i understand that this is from podillia, yes, who obviously saw the talent in this child, and this child, 16 years old, yes, he sends him to study in odessa , to philip's workshop klymenka, you are actually talking about this family, yes and no, no, the family was different. well, this is the story that before he went to odessa, he was already studying, and when he came to odessa, he already came with certain in... already knowledge with a certain artistic level, and klymenko accepted him as someone who could earn for himself, and therefore he painted portraits in order to earn a living. yes, of course, that is, it is no longer, he was not such a simple child, a child who is not ready at all. i'm still curious about

the scholarship to study in krakow, too highlighted by the bzhozovsky family, this is... the employers of his father, who was a forester, so in this family, that is, in both situations, i remembered, you know, they had myron frank, frank's story, yes, when, when someone notices, when a child is lucky , and someone notices the talent and a way is given, and yes, it's the same with shevchenko, and we are there with many, let's say so, if we go through a lot of ukrainian names like that. from sculpture, history repeated itself, and that it was an exceptional talent of a child from a not very rich family, which was so exceptionally manifested and enhanced charisma or stubbornness in my case of the great-grandfather, or actually just his stubbornness, because he told dad the forester, who had already prepared his destiny for him at a young age

, he had a vision when he met god, and god told him: that he, well you will be an artist, and he, as they say, it’s like a bird there, it’s as if there was a knock-knock-knock, knock-knock-knock, and he persuaded his dad, that’s exactly what happened, and in the end they let him go before dude, they just let him go to school and then he came back because he lost his dad job, he had to go to work as a clerk, but then, when the situation stabilized a little, he was sent to odesa just there, then they returned back and... a teacher from kraków, from kraków, i don't remember whether from kraków , came to the brzezowskis academy, but from kraków, and he simply saw oleks's talent, and he also time and time again, time and time again, he persuaded, it was also a very difficult decision, he persuaded the brzezowskis to give him a scholarship to send him to the krakow academy, and then in krakow in

there begins a conflict of identities, as far as i understand, yes, please tell me about it. ugh, well, i would say that it was not so much a conflict as a choice, although you may be right that there is actually a situation about a moment, because of some kind of conflict, that is, because of a confrontation, when bryzovsky was actually given a scholarship, then when he was accepted, they looked at him and bet on such a promising polish artist who could stand next to the names of great polish artists. he is the only one who graduated from the ukrainian pleiad in krakow academy with a gold scholarship, which gave him the right to study at any university in europe, and he had brilliant teachers there who were absolutely poor, yes, yes, and that, but the scholarship was actually also with full support, the right was only one rule, one rule, and the rule sounded like this, you

become a polish artist, and at this moment... i understand that they pushed, pushed, and because until a certain period he even signed paintings with two conditions, sometimes he could speak ukrainian, sometimes could sign in polish, that is, this game, it, it was, well and my great-grandmother, she was a polish drinker, she has polish, polish blood, polish roots, and, er, that is, i think it was very much about the fact that he was probably overwhelmed by this desire to do. precisely a polish artist, and he at that moment, he made his own decision to resist, er, and - most likely, exactly, his talent and this ability to be himself, this connection with identity, played a role in his partnership

with sheptytskyi and further, precisely in those projects that they created together. so in... they met before 1923, yes, that is, on the 23rd, sheptytskyi offers him to found an art school, even earlier, earlier, it’s just that this school was already founded in 1923, so how they met, please tell me, oh, now i don’t remember the date , but they met earlier, precisely through golubovskyi, through golubovskyi they got to know each other, because golubovskyi was a lawyer, so he is a lawyer. a lawyer, a lawyer, and in fact, they met oleksya in a very strange way, because when he graduated from the academy, he ended up near krakow, that's all. i don't know there at butch's, relatively speaking, he moved from kyiv to bucha, and in bucha he was actually lying sick, and a doctor was asked

to stop by and take a look, and this doctor, he just saw his paintings and realized that he was definitely needed in to put it on, and he put him on his feet, and the doctor turned out to be the husband of holobovsky's sister, and so they became friends, and so they then he... in fact, through holobovsky, they then ended up in the cedar chambers of sheptytsky, which were in the carpathians, because in the carpathians at that time it was very it was fashionable to go to the dacha, actually they had such and such dachas, such and such places, and they met, discussed, there were very such in a very interesting , intelligent environment, and actually just as if they met there for the first time in shoptyk, then when there was a big personal . nowokivski in kraków, sheptytsky was actually at this exhibition, he saw this exhibition, and i

think that it was just him, he thought to himself that when we actually lost the treaty of versailles, after the treaty of versailles ukraine was not able to get its separate independence, yes, let me remind you that this is the collapse of the empire in our country, while poland was able to. there is such a version that sheptytsky actually realized that there was not enough support, in poland there was support on the nobility, in ukraine there was not enough support on the elite, there were not enough highly educated people, who would not just be highly educated, but would have wealth and could influence enough on...society, and, that is, what we're actually facing right now, yes, very history repeats itself very much, uh, and he then conceived it that it is necessary to make her a school, which in essence

would be not just like an art academy, but one that would, well, a person of the renaissance era, i would say so, create from those people who could come and take on this choice, to be ukrainians , it amazes me... that sheptytsky was how deeply he understood this need, that he invested money in it, that he allocated scholarships for later, when this school had already emerged, yes, he invested scholarships in children, there there were many children, how many people studied there, about 100, about 100 people, and he, it's him, he also went to the carpathians, actually their departures to the carpathians, it's also sheptytskyi. it is even more systematic, but when they say that there is a sheptytsky patron, then, first of all, it is a myth that shiptytsky was a patron of novakivskyi, it was not so, and secondly, well,

sheptytsky actually created systems that could later support art, culture and education, and very often it happened that these were not his funds, but it was a certain system that actually helped...well here and there with studies, with trips and so on, and because, for example, when they went out on plein air, because plein air is when artists go out into nature and paint, they actually paint in nature, novakivskyi brought this fashion to lviv, he took his students out into nature, because, well, if you make a photographic story, then you can sit there in the privacy of your room and draw, he said that if you really want to. to catch the spirit and learn to catch the true spirit of what you depict, you need to go and draw, and it's like leonardo, he walked around with a notebook, and so did they, he taught his

students the same way and did it himself, that is, it's a lot of sketches in search of that, but how to reveal this story of this soul, this imprint of truth, and well, on the other hand, it is the creation of a cultural environment, because i realized that a community has already been created there. here and in this was the story that there were, well, the scientific society named after taras shevchenko, it was one story, there was enlightenment, yes, and there were other groups, sheplinsky contributed to the creation of various groups, because the history is there, that is, he had a bank, yes, a bank was created, the bank gave an opportunity, gave credit to small businesses, yes, but then when small businesses started to get on their feet there, then they laughed, they all started pay social tax, voluntary social tax, and this voluntary social tax, it was what helped all this grow, the ukrainian secret

university... this is a phenomenal story of an institution that stood solely on the payments of people like us as volunteer payments, yes that have been scattered there, this is an amazing story about the ukrainian secret university, unfortunately, we do not have much time to talk about it, but if you could in a few words, i am sure that many people do not know about the ukrainian secret university, if you could tell literally a few words to say, because i understand that at the ukrainian secret university... novakivskyi also headed the department of painting yes is it called art of art yes in essence in essence the story was such that at first he became a professor at the kyiv academy of arts, and as a professor at the kyiv academy of arts, he became a co-founder of the ukrainian secret university, yes, that is, he taught here for what years, come on, let's say what year it is , what year it is, the kyiv academy, the kyiv academy -

that's exactly where some of the people who came to well, from central ukraine, from one coast to the other, yes, well, for example, i wasn’t surprised, vrony taught screenwriting at this school, and peter kholodny, he came to read his own just sacred art, ugh, and relationships, it seems to me, this is also an unexplored story, how much these relationships generally influenced the way it was

built... but i am sure that it was the relationship between the kyiv academy and the secret university and the secret university and this environment in general and if mixed mixed, what was not just galicia or just kharkiv or just kyiv, but it was these mixed environments that allowed them to communicate with each other and build human, human good relations. let's finish the secret university after all, it was, it was really secret, that's how hundreds and... hundreds of people studied there, the polish authorities persecuted and yet it functioned and yet and yet it was so well let's start with the fact that it actually started with the fact that right after the treaty of versailles the rules for minorities changed there, the ukrainian minority was in lviv, such a very minority, and also a rather passive minority, and in fact at lviv university

it was forbidden to teach in ukrainian and the students went in protest, then the professor supported her, because they were also forbidden to teach in ukrainian language, and it was by in essence, as an act of protest, to put it that briefly, the act of protest, when they singled it out separately, created it specifically for contributions, voluntary voluntary, civic contributions, they made it a university, they hid for several years in a row, they were really being tracked. in different places and in apartments and in and in st. george's cathedral and somewhere else in the novakivskyi school, which was actually just a part of this university, which was located in the building that is now opposite the cathedral of saint george, where there is now a memorial museum, and there too in fact, meetings and meetings, as well as training, took place just in time.