the national museum of art is hosting an unusual exhibition, why did you leave me, where the exhibition project, which was originally called a little differently and under the working title it appeared as a crucifix, a-a will arise several years ago as a project synthesizing a work of sacred art of folk masters with works of contemporary artists who speak out on a religious theme.

however, in the process of working on the project, the curator. dmitry licorice has changed the concept now based on the minimalism of the explicit solutions, as well as the significance and importance of each piece of art, an attempt to look at one of the most tragic and dramatic gospel events through a work of art, the events of the crucifixion and loneliness. crucified jesus christ what does it mean to be a god to be with the creator of all things, yes alpha and omega as they call christ and at the same time experience death, that is, to be life and enter into death is very difficult for understanding and the human mind, and the place is theological the place is philosophical place, but art gives us the opportunity through its symbolism to feel. it is some kind of inner human nature to stay with a

work of art one on one to focus attention. understand and feel at the core. uh, this exhibition's title lay down the phrase it was or not just the words of jesus christ it was the cry of the evangelists, that's what they write. jesus cried out on the cross. shouted or or break in oblivion. and what does the translation mean my god my god. but for some reason he left me. the son of god speaks to god the father. why did you leave me like this tragedy, loneliness, a feature of the exposition solution, the color scheme and the bright hall of the museum, you find yourself in a hall with subdued light, plunge into a state of twilight, bordering on darkness, you disconnect from the outside world and turn on the world. here are these illusions. yes, to the world of art, to the world of symbols, that is, the head begins

to work differently. in the first hall there are only three works at the entrance, the viewer is greeted by a symbolic crash over the dome, and in the semi-darkness a rare wooden sculpture of jesus dungeons from the wounded, knowing what he will have to go through. why did you leave me the viewer, as if sharing the captivity of the praetorium, we see the depicted jesus christ, e on the very night when i was scourged in the prison by the praetorium in the dungeon of the territory, when the soldiers mocked him there. where they dressed him in purple, and where he spends his night on the eve of the crucifixion on the eve of the calvary ee suffering, the people sympathized. and how is he a poor fellow, sitting, and in the dungeon of this praetoria, and in a damp dark prison. what was he thinking? yes, but didn't he think, maybe

be all for nothing. yes, he had no doubts, and how is he? what did he worry about, and whether it hurt him, how it hurt him, because he was scourged and these emotional experiences are embodied in these figures. eh, christ sitting in a dungeon, and holding on such a pedestal, and his a hand, putting it to his cheek. this is also a special kind of tragedy. there is emotion in this. there is no tenderness and meekness in this, that this is before us an innocent man put in prison. and this is meekness; in general, christ suffers innocently. he is the lamb he is suffering for the sins of all mankind, and he himself is sinless. hmm, viewers of the artichoke have a unique opportunity to go on a curatorial tour, moving from one work of art to another, the viewer moves through the second hall through the carrying of the cross, again, folk

craftsmen along the line, depicted jesus christ going to calvary and walking, but by thorns. yeah, uh, thorny path. they are literally transferred alive when they depict under the feet of jesus christ the thornbush of the four halls. there are 21 exhibits in total. unusual the exposition allows not only to understand, but through the material to feel the feeling of being abandoned by a miracle, the unique wooden crucifix preserved, in the second hall the viewer will see a rather unique work of belarusian sacred art. these are wooden carvings of the crucified christ, but these images of the crucified christ are not displayed vertically on the crosses. and they are exhibited in shop windows, but in order to feel more emotionally. ah. state of the death of jesus christ many items presented in this

room, in the second room. uh, they just went through conservation. e in the hands of restorers. this means they are simply reinforced so that there is no further destruction of them. eh, that is, no such gloss has been directed at these objects to allow us to feel, but what about the story? yes, with my own eyes, understand and feel that these objects, e, survived the eighteenth, let's say, until the 20th century, and being on roadside crosses, blown by winds of snow and rain, the sculptures survived, but time quickly lost the paint layer, missing elements of worn textures wood. still, the works from the 17th to the beginning of the 20th century are presented, and i wanted to show these works from different regions of belarus, both the south and the north, brest, vitebsk, how

masters folk craftsmen read the image of jesus christ suffering jesus christ in different ways, and how anatomy is interpreted differently . uh, somewhere in the image it is such an undisguised physicality, yes, suffering flesh with anatomical just detailed, but volumes, and muscles of the bones. and somewhere this is a transition to a conventional image, a simple smoothed one, and uh, without any prize and without any additional emotional bodily and especially. i wanted to emphasize, a in small plastic in small images , the detailing with which e worked, and the sculptor a-a, unknown to us, so that the viewer can peer into each, as it were, a crack into each fold and image and feel that even in this petty one. and

the work of the sculptor gives himself completely the names of different masters. you who created this beauty, unfortunately, were not preserved when we mounted this exhibition, when we transferred the exhibits. at the curators. there is such a unique the ability to lay the showcase exhibits yourself when you touch them. you just can't imagine. and what did the person who cut it feel, because this is a real living body, christ. in your hands they are just a work of art, and in order to pray before him and these masters, of course, all their religiosity, all their understanding what it means to be crucified was embodied in their works. the third hall is a symbolic way to calvary. however, one should not forget that the exhibition is by no means an illustration of the gospel

events, but rather the emotional experience of the viewer sees, and obscene orthodox catholic crosses see. uh, small orthodox icons, which depict the carrying of the cross by jesus christ, nailing to christ and the third icon - this is an old believer image, folding, copper casting, which depicts golgotha ​​with the crucifixion of jesus christ. forget that religious art is deeply symbolic and was created not only for in order to admire its beauty through symbols the ideas are transmitted theological ideas philosophical ideas on the example of this icon , we see how rich it is in symbols and e, quotes depict the name of the crucifixion itself, it is depicted on top of the saved miraculous angels , the cane and spear coming at the cross, ah, the head of adam and many many small

inscriptions, what is it all about? it is very difficult for an unprepared viewer to put together a text. to do this, we organize meetings with the curator at the exposition, who can explain to the viewer one or another content of the monument, sacred art in a secular museum. it would seem that. why during the exhibition in the guest book we have such an interesting remark of the visitor. a visitor writes that i don’t like sacred art at all in the museum of icons, cross sculptures, but this exhibition changed my attitude. and it seems to me that this is very important for a secular museum. to be able to correctly place the emphasis on contemporary art and on sacred art, to be able to correctly represent it for the viewer, the culmination of projects in the last fourth hall, the final

hall. the fourth hall is a symbolic image calvary. in this room, as well as in the first one , there are only three works. the central one is, of course, a crucifix from the 17th century. and this is a unique crucifix because we know the name of the master. the name kazimir krupovich 1.000.600 was preserved on it for the ninety-sixth year. and therefore this image occupies a special place of honor in this exposition. the greatness of admiration and the sacrament of contact with sacred art are my ideas in this hall, the viewer must immerse himself in a certain state of experiencing the golgos of the golgotha ​​event. and this hall is also decided very minimalistic in terms of light, but complemented by sound and sound accompaniment. in this hall, the work of comfort comforter sounds. this is such a scream. ah, telling about the consolation received

from god, that is, this prayer to the king, heavenly comforted the souls of truth, the viewer hears, as if singing, angels, a soft meek performance. why did you leave me exhibition helps. if you can't find the answer, then at least think about it. to feel the sound of the design of this hall, the selected work golgotha ​​give the viewer the opportunity to be one on one, not just with a work of art, but to be alone with yourself and a quote that rises above the golga god in your hands father in your hands give my spirit this quote says that this is the path of suffering and the path of loneliness.

now it's ending. yes, the moment of death will happen now, but when the moment of death will happen on calvary. after 3 days, the moment of resurrection will take place. christ will descend into hell and bring out the souls of the righteous and open the doors to paradise for everyone who deserves it and who wants it and the light of easter the light of easter resurrection will never fade away. summer, perhaps, is the most favorable time to go to a meeting, the adventures of borisov's stone in belarus are already four. this

particular one. in my opinion, the stone is a traveler. why was it discovered in the 19th century in the druya ​​river, but only 2002 was able to get it in the western dvina? i read that it contains hydrogen sulfide, but so far there are such directly bright characteristic odors. i do not feel that we will not waste time and get to know belarus even closer. of course, the mediterranean does not wash, but it has its own bilean, and in order to be on the islands to fly away to hot countries , the station of a friend was not necessarily written in capital letters. in this room there was a cash register, a little further living quarters. look at the beauty that greets visitors to the restaurant . the doll closed her eyes, as if anticipating a terrific dinner. if you want to feel like a real bird, overcome your fears and step forward. to itself natural forward. do you know where to go? come on, i'm with

you, see travel projects on our tv channel. calise is in nature, surrenders to the light, swallowed up the forces of silence, then lowered it, only sang to the wind to pester in your ear, as you slept out of the mind, like a vocal, silence. cool cars go to nature near the forest near the field on the river and lakes. sew fresh in the wind. grab me with demons. listen spevyk extinguishes and walked their leaves of laughter.