artist, and he starts teaching at the kyiv art institute, he actually reformats education, because his is... not only to teach, but also if we were to give such methodical instructions, to help rebuild this system, because malevich, he was also a theoretician, and he built his own pedagogical system in art, yes, that is, in him, he falls into this kyiv environment, he communicates with the new generation, he publishes in his series of his latest articles, to explain what the new generation is, the new generation was the main magazine in the 20s in... throughout the soviet union, which was dedicated to modern art, published, it was published by mykhailo semenko, actually the leader of ukrainian futurism, who, even as a young poet, already knew about malevich's suprematism and dedicated a number of suprapoetry to him, it is as if suprematism in poetry, that is, this connection between semenko and mimalevich, it generally has such durability in the decade, and in fact, at the end of the 20s, they were already communicating directly, and semenko invited malevich to be published in a new ge

as an already formed artist, and he begins teaching at the kyiv art institute, he actually reformatscation, because him for... not only to teach, but also if to give such methodical instructions, to help rebuild this system, because malevich, he was also a theoretician, and he built his own pedagogical system in art, yes, that is, in him, he falls into this is the kyiv environment, he communicates with the new generation, he publishes a number of his latest articles, it is necessary to explain what the new generation is, the new generation - in the 1920s it was the main magazine in... probably in the entire soviet union, which was dedicated to modern art, it was published by mykhailo semenko, actually the leader of ukrainian futurism, who, being a young poet, already knew about malevich's suprematism and dedicated a number of suprapoetry to him, that is , suprematism in poetry, that is, this connection between semenko and malevich, in general, he has such tenacity in the decade, and now, in fact , at the end of the 20s, they are already communicating directly and semenko invites male

art institute, which are available in this book in both english and french, this book actually came in the 16th year, then it was still later. separate translations, who published it, it is an edition of the rodovid publishing house, supported by the nizhny novgorod business school, and actually it took place, and this edition was published together with an international conference dedicated to malevich, actually there have been two such conferences over the years, and it is also very important when malevich researchers from all over the world and avant-garde researchers from all over the world come to kyiv, in order to agree on new ones. finds and new discoveries in malevich, if i remember correctly, in the genealogy there was the same published study of the great jean-claude markades in the 12th year of the french researcher of malevich's work, and it was he who started the first, at least i learned from him that malevich can be called a ukrainian artist. well, i think, if we talk about who was the first to pay attention to malevich's connections with ukraine, it would be fair to

artist, and when he began to teach at the kyiv art institute, he actually reformatted education, becausevited not only to teach, but also to give methodological such instructions, to help rebuild this system, because molevych, he was also a theoretician, and he built his own pedagogical system in art, so that is... he falls into this kyiv environment, he communicates with the new generation, he publishes a number of his latest articles to explain what the new generation is, the new generation was the main magazine in the 20s, probably in the entire soviet union, which was devoted to modern art, published it was published by mykhailo semenko, actually the leader of ukrainian futurism, who, even as a young poet, knowingly, already knew about malevich's suprematism and dedicated... such a burden in decade, and in fact in the late 20s they are already communicating directly and semenko invites malevich to be published in a new generation, here in this second book, which i want to show today, yaryna tsymbel actually publishes for the first time the proof that malevich had direct connection wi

art institute, which are also available in english in this book and in french. language, this book actuallyhe 16th year, then it was still later , translations were published separately, who published it, this edition of the rodovid publishing house, supported by the kagliayan business school, and it actually took place, and this edition was published together with an international conference devoted to malevich, there have already been two such conferences over the years, and this is also very important when malevich researchers from all over the world. avant-garde researchers from all over the world come to kyiv in order to discuss some new finds and new discoveries in malevich, if i remember correctly, in the genealogy there was also a large study published in the 12th year by jean-claude markadeche, a french researcher of malevich's work, and he was the one who started the first one, at least i learned from him that malevich can be called a ukrainian artist, well, i think if we talk about who was the first to pay attention to malevich's connections with... with ukraine, it would be fair

artist, and he starts teaching in kyiv. art institute, he actually reformats education , because heinvited not only to teach, but also to give methodological and such instructions to help rebuild this system, because malevich, he was also a theoretician and he built his own pedagogical system in art, yes, that is he tolerates this kyiv environment, he communicates with the new generation, he publishes in his series the latest articles in the new generation. what is the new generation? it was a new generation in the 1920s, the main magazine, probably in the entire soviet union, which was devoted to contemporary art, was published by mykhailo semenko, actually the leader of ukrainian futurism, who, even as a young poet , already knew about malevich's suprematism and devoted a number of his suprapoetry, it's as if suprematism in poetry, that is, this connection between semenko and malevich, it generally has such a tenacity in the decade, and here it is actually at the end. they already communicate directly, and semenko invites malevich to be published in a new generation, here we are i

, and he begins to teach at the kyiv art institute, he actually reformats education, because he is invitedy to teach, but also to give such methodological instructions, to help rebuild this system, because malevich, he was also a theorist, and he built his own pedagogical system in art, yes, that is, he gets into this kyiv environment, he communicates with the new generation, he publishes. in his series of articles on the latest in the new generation , explain what the new generation is? new generation was the main magazine in the 1920s, probably in the entire soviet union, which was devoted to contemporary art. it was published by mykhailo semenko, actually the leader of ukrainian futurism, who, being a young poet, already knew about malevich's suprematism and dedicated to him a number of suprapoetry, it is as if suprematism in poetry, i.e., this connection between semenko and malevich... in general, it has lasted for decades, and in fact, at the end of the 20s , they are already communicating directly, and semenko invites malevich to be published in a new generation, here we are in this