worse, he called for the creation of a special commission of congress, which will investigate the facts that have been discovered, even the little that is known. at the moment, allows you to conclude that the intelligence agencies violated the us constitution, which guarantees freedom of speech. our children with special care continue to congratulate girls and boys on new year's eve. good friends. today, the pupils of the begun boarding school were met with gifts for the children by the chairman of the house of representatives of the national assembly of belarus vladimir andrechenko district authorities are chefs and got to the premiere of the new year's performance in search of the snow maiden, schoolchildren, together with teachers, composed, staged a fairy tale turned out to be fun and provocatively in response, the grateful audience did not skimp on applause. they also left gifts, sweet sets of smart equipment and certificates for the purchase of equipment needed for the school. popovich well it seems that he left,

of course, a long time before me. new year is a time of miracles, i love new year very much . many guests come to us on new year's eve. people. gifts are very happy to meet them we have come for that probably to give a good mood faith in miracles faith of good people, because it is very important, probably the children who are in this special school, because they are left without love and affection from their parents. and our constitution guarantees childhood. and most importantly, it's all done in practice. in 2023,

six graduates will leave the boarding school. that's all the news for now see you at 19:00. these people do everything to make our life comfortable. here are these young lilac seedlings that will grow and soon going to the territory of cities and towns of our republic gives us a plus in this respect. what to get ornamental plants. and no , they work every day, tirelessly already driving up to the place of work. i always purge questions of some link in the educational process. it will be as you would like an idea, it will be developed, we offer to spend one

day with specialists and learn everything about their difficult case for me personally. in the hands of the book throated side by side they choke with a skin word. zus their developing people and creatively the most marvelous and fit respect this book in books live sdunki passed

memorandums to expressively improve people's voices. i

probably came into this world to do what i do, so it's hard for me to imagine myself without all this. just like imagining yourself without yourself. dear friends welcome to my workshop. please come in as i speak to my kitchen. here you will see a lot of interesting things about how the creative process of creating works takes place. in my method of maximalism. here is the first zone. where do you

come immediately brutal, where? i'm creating models layouts, i am engaged in welding, metal processing and so on. this is the kitchen, and then you go up the stairs and there is the next room, where i am already directly engaged in understanding what i have done. i call it the bedroom. right now i am working on such a theme, as if they compile two separate objects and a cube, when they are separate. they live separately on their own , and the life of the cube and the life of the ball, but, when combined, they touch each other. they begin to influence each other, as everything affects everything. uh, the shape of their bunch of their combinations of them this invisible one. it would seem that what i do video calls, it has different. quite a continuation, that is, here here we see dominate here, uh, square in round. and here, uh, round in a square is such a hmm way of communication. here is a little

different. uh, plastic interpretation. the same connection, there is the third and here the fourth, that is, the last time. i started working more with series. that is, i create a work that, er, how to say, consists of several parts. here there is 1 2 3 4 is called this policy material. well it such a substance that dictates certain conditions, for example, i think to do it, in this case it is to do it from wood. and this is made of bronze, for example, this is made of aluminum. and it's made of plastic, it's made of stone. and this is bronze again. this example is made of aluminum. and it's cast iron. so i'm in the process of thinking right now. that's what i do for this. everything, in fact, is small sketches, as we know, first pencil sketches, then three-dimensional ones, in which we arrive alone with ourselves, in general, creativity is such a process, not only technologies. such a magical manual yes , manual, but also intellectual, therefore, i suggest you go to my bedroom on the second floor, so to speak, where we discuss with

my friends the visitors already the conceptual, intellectual, component of works of art. my last name is petrol in belarusian, the fifth steering wheel, and this is my fifth steering wheel, but what happened, in my opinion, is a passport. yes, there is peter, a village in belarus, patrols are not far from oshmyany. e abroad in lithuania from the village of petrushkis, when i was in lithuania, uh, went to the exhibition, and there the artist is the people for the artist. the lithuanian ussr petrus, a painter, and next to it a sculpture on a green bridge in vilnius, one of the authors of these cultures, also petrulis. this surname comes from here. this is the real belarusian surname peter, the sculptor alexander batyunyak, my colleague, worked here for me, and unfortunately, he left us, because he needed a

kidney transplant operation, well, he did not wait for his home and several years ago they turned to me. e. doctors transplantologists and professors of our center minsk transplantology with such an idea of ​​creating an image of e, an image of a donor, and there was only one wish, as one of the options, that it be an angel. i thoroughly studied the theme of angels in the space of the artwork in the image. uh, icons , uh, frescoes, in general, came to that angel, which i made the symbol of the transplant center a symbol, uh, to which those who need a donor come, and at the same time, as i said. uh, symbols that thanks those dollars that gave away their city. you name maximalism is something, uh, ironic, that is, as if on behalf of maxim well, the postmodern paradigm. it's perfectly normal on the other hand. this is something completely serious. this is a certain

position of american minimalism, conceptualism, inspired by donald and the sea. went levit if they said that their simple geometric bodies do not mean anything, in addition to being simple bodies, then i say that my transformed geometric bodies, speak of all meanings describe the very truth that i spoke about hayer , that is their minimalism means nothing, my maximalism means everything, as i said. uh, french philosopher, georgeman, we're not the only ones looking at the work. well, the work looks at us and it is very important to understand. well , invent your own madness. yes, there is art in space. i couldn't not invent it. i consider myself the heir to the russian avant-garde, an artistic phenomenon of the early 20th century. e, who grew up here with us,

so to speak, on russian land. yes, in the space of culture, and in particular in vitebsk, the group worked even more interestingly. shiy artists led by kazimir semen than malevich, who invented suprematism? therefore, as followers of russian artists of the early xx century. i take on such a burden of responsibility, invent maximalism and today i do everything to popularize this trend in art. this is a creative method. this is my unique style. it is a perfectly normal practice to give. so to speak, a short textual guide to the work. what would e like to talk about here, or what would you like to ask the author when creating this sculpture. well and further, we cannot limit the viewer, if the viewer, for example, looks at an object, yes, at a cultural work and sees something that i do not see there. well, how can i forbid him, uh, i'll tell you. do not look or after all , the way i want is not, e for the usefulness

of the process. i give a short explanatory text to the work. and this is a normal practice that exists. already. fuck the modern times, artists explain their works in short text. and then depends on the reflective path of the viewer. here is his education upbringing. even mood. here comes a man in a bad mood, whether he is watching something like that. well, i won't run to convince him. he’s just in a bad mood or came, let’s say he didn’t read something that i read or read, something else that i didn’t read and looks through the prism of his own experience and knowledge from a completely different angle in japan created in the middle century. such a garden of stones garden to me john there are 15 stones. but we always see only 14. wherever we go in the gallery around it is very, uh, chic, describing the situation of perception of the viewer's object. each of us sees something that the other

cannot see, not because he is bad or good. we are each in our own place and each looks at this or that object, phenomenon, situation, and so on from his own angle of view. the golden fund of world musical culture classical music touches the souls of more than one generation of people. it has been tested by time, and therefore it will always be relevant and in demand

for him as one of the first violins of the bolshoi theater. on weekends on belarus 24 tv channel how to organize meals so that vivacity energy enough for the whole day at home, i try to cook a balanced meal for breakfast, there were definitely slow carbohydrates, because children often skip meals at school. usually i eat something based on eggs, scrambled eggs, i really like cereals, then you can make pancakes, and i will make sauce about this and not only belarusian athletes tell. has it ever counted how many sports? you commented. and you know, i won’t tell you the exact number, but i have a suspicion that it’s sports. well, somewhere around 20, probably gathered. how are you

you are, and the breakfast of champions culinary project for promising future olympic champions, watch on belarus 24 tv channel. i want to show you a couple of works that are noteworthy for me here, here is a canvas. anatoly kuznetsov in my opinion. this is one of the outstanding painters of modern

belarus. here is his canvas, which clearly demonstrates him, and his approach is his creative method . inspired to engage in abstract art by the avant-garde, which the avant-garde told me and presented in the form in which i loved it, and this canvas is notable for the fact that when we talked with him, it hung in the studio of leonid khobotov, and today it is in its place nationally art museum of the republic of belarus as a recognition of all the merits and experiments that leonid khobotov carried out in the space of belarusian art in space and painting, we are in the national art museum of the republic belarus, this place is remarkable for me because back in 2007, the national art museum held my personal exhibition together with my mother and lyudmila petrul for the artist's thirtieth birthday. what

is unprecedented for our art museum, from here, so to speak, my long creative path has already begun, as an artist of a serious artist. after the exhibition at the national art museum. my works have moved to one of the largest private collections in the world of collections. correctly for wirth, this is a german philanthropist billionaire industrialist, each museum is good in its own way, but i remember, especially the theme of the museum to which i am related, so i can say that the national art museum is expensive. me since this is my launch pad from here. i started a big creative way, well, the yurt museum is definitely private. he is dear to me there i ended up next to christ and jean-claude with david hackney from gabrielle, the wife of wassily vasilyevich kandinsky, that is, among my works among works. artists

of legends i was born in 1977 on december 16th. as you know, on the same day as vasily vasilyevich kandinsky, this is the founder of abstract painting, a representative of the russian avant-garde, only 111 years of difference between me and vasily vasilyevich. folios, e from various museums, galleries, collections of art works. as a child , i spent a lot of time with books with paintings by giorgioni titian rembrandt. and that's when i think and started to form like artist of his childhood. i spent in such a district of minsk as grushevka. that's when i was a child. i played football and was fond of doing. well, like all boys. and uh, the moment came when my mother sat me down across from her.

maxim said what do you think, should you go to school named after akhrempchik in order to become an artist, it shocked me a little. i wasn't ready. i didn't want to in a way, but my desire to experiment and try new things brought me to school. i passed the exams and entered the belarusian lyceum skillfully, then entered the painting, but i was given four points for myself. and i didn't like it very much. you know, it's kind of embarrassing. i tried like this and it seemed to me that well, on those. uh, that's her mind. e that somehow it's unfair and i transferred to the sculpture. i asked my mom. she spoke. i was waiting for an internal exam, yes, and alexander mikhailovich finnish my first teacher. well, he accepted me into his relationship group with my mom. it's in a wide range of

relationships that you understand and mom son and two artist. and uh, sometimes we confront sometimes we are friends, but in general we have the most wonderful relationship with my mother, very warm professional useful pleasant interesting. i am very glad that i was born in the family of lyudmila petrul. we are very critical . i mean analytically critical. it doesn't mean when we scold each other. we analyze, argue, show each other our ideas of ideas, the fact is that a work is not born immediately, like a person, that is, it takes nine months, yes, from the moment. how to say conception, and a work from the moment of inventing for implementation needs about the same time, therefore i am sincerely convinced. then all my works in a sense, my children, i am such a mother of many children, and when i began to make art. i better understood my mother, who raised me, raised me, in a sense, too, as her own work, when i moved from the

okhrim school from the belarusian lyceum and art to the minsk art college. i got on the course of vladimir ivanovich zhbanov, the famous minsk sculpture. but then he was not yet a well-known minsk sculptor. he was then only my teacher, with whom we often argued, we had quite an interesting relationship. that is, on the one hand , humanly, we were friends, and on the other hand, creatively. we argued all the time about my creative path, it's still different, and i met in my life, if with leonid vasilyevich khobotov in parallel, uh, how i studied at the gleb school was vladimir ivanovich bavanova. leonid khobotov - this is the head of the non-mega-17 creative association, which includes zoya litvinova e, galina garovaya, tamara sokolova is a group of belarusian avant-gardists, abstract painters and sculptors who had a different point of view than the traditional school of belarusian art. and so leonid hopotov

introduced me to such a phenomenon as alan angard, russian avant-garde and abstract art in general. i fell in love with him believed and in my career in my destiny in my life i follow the principles that were laid down at the beginning of the 20th century by the great artists of the russian avant-garde e. my first success is related to the work that i did it way back in 1996. this is a sculture or fantus, it was not appreciated during the studies, but in 2002 at the exhibition of the republican competition. i got first place in the nomination. sculpture, then this sculpture was taken to moscow for the new generation exhibition. and then. participated in the park sculpture competition in the city of fuzhou and was selected at the age of 25 to participate in a large international project in 2 months. i installed my first big sculpture. in

china, at the age of 25, my creative path began with this. this works lies an urban legend about the sun. the fact is that here, well, according to legend, there is the serpent mountain, right above us, behind which, as the ancients believed, the sun hid with swords, where it hid. here we kind of created this sculpture, proceeding from. from this plot from this narrative, that here is the place behind which the sun hides, which means

plastically it is a half-disk, which, thanks to the possibility of the interior, therefore, the presence of the ceiling creates a solid disk from the half-disk, thanks to modern materials, stainless steel. this is a high-alloy steel, which is able to reflect, that is, to reflect to interact with the outside. these half disks of mine are closed in a solid solar disk. uh, the difficulty was to hang a structure there that weighs about a ton. we hung it from the ceiling. here, well, like all my work. eh, it's always an experiment. this is a challenge for me, first of all, the metro in this sense allows artists to open up, as there is a special environment in the metro, unlike the street where precipitation is atmospheric. here everything is air-conditioned under the supervision of everything is clean and plus the space of the interiors helps. us. in this case, use a stainless steel ceiling. as part of a work of

art, saying that the work needs some time, well , to adapt, like a person, like an animal, when they move into a new apartment there or let a cat into the house. so in the subway. eh, we have laid down a tradition of how to release a work in the subway, and it is experienced here, because it is experienced before the beginning. uh, station opening since mounting sculptures some time passes and the sculpture still lives here, while there is no one on the subway. maybe it can be used in the same way as a museum and works of artists are also exhibited in it. uh, visiting museums is not that developed in our tradition. there, let's say at leisure, yes, on weekends, and in the subway, a person wants it or doesn't want it. he simply comes into contact with the work, thus expanding his horizons, at least in the minsk metro, here are the stations, for example, uh, the minsk metro, their names serve as a very good example of the memorialization of the departed. villages. let's say here stations the first still branches. well, the new pear station in kalinovka mihovogo petrovshchina,

because this is a village that no longer exists. we do not even know where they were, but in this way we preserve the memory of the city toponics. and i also preserve and bring this memory bank with my works, because the work has a function. uh, the preservation and accumulation of a memory bank that is passed down from generation to generation about some urban legends about the names of villages that were once part of the city. eh, they're gone now. here are the pears. at. of course, it’s not like pears, in which you now see pears, in particular, you understand the sector, two-story barracks, that’s some kind of pear. my childhood for me and my emotions, conveyed by my impressions, pears of the empire in this work. we are now heading to the metro station frantishka, bogushevich square, where we will look at my sculptural

work, the book belarusian, created dedicated to the life and work of the belarusian writer frantishka, bogushevich. work on this artwork on the image of the sculpture object for the metro station ploshchad francesca bugushevich. the architect vladimir nikolayevich and i thought for a long time what quote to take. there were several capacious bright quotes from the work of the belarusian writer, the founder of critical realism, man. this influenced the formation of the belarusian language in the form in which we know it, so we leaned towards a quote. do not leave the press, you are our belarusians, no matter how franchizmshevich did not die. our belarusian culture takes its roots. in particular, art neither in the great academies in paris nor in st. petersburg a grows from small towns and villages. belarus, where the methods of weaving forging and other

folk crafts are gradually transformed into the method of artistic avant-garde, that is, the roots of our culture lie in the village and in small towns, where folk crafts are. such as qualities and forging are something extremely interesting and original and broadcast honestly authentic belarusian culture. therefore, the basis of this work is the weaving of a carpet ; and the sun about the harvest and so on. pogushevich praised his work to be ordinary people, purely technologically. we worked with rolled copper in order to create the inscription copper has such a property that when heated it becomes flexible and ductile, but when

it hardens it becomes red-hot. you will not do anything else with it, and at this moment you need to have time to process copper according to the plasticine model, which was created before and in the plasticine model. we create all the aesthetic plastic and other properties of the work, and in copper we just say so we fix and make resistant to deformation to everything else in general. e was a question. how to shade her. we thought to give a light patina. right up there in this part of the weave, but as one japanese sculptor mitsuki told me, 40 survivors of the hiroshima bombing. first you start making a sculpture, and then she herself tells you how to make it. and then, finally. in general, she makes herself this is the only thing for the animal in 2 months of communicating with him through an interpreter, so the sculpture itself prompted. which is basically leave this copper color, which

gains over time and, so to speak, gets used to the space of the metro station. here is an example of the interaction between sculpture and the urban environment. this sculpture from her history is one of the five sculptures of the contr animals series about the history of sculptures that are in the collection of the national art museum of the people 's republic of china, one was purchased by the ministry of culture for the national center of modern republic of belarus and two

are my easel works. they can also be urban. here you see an example of an urban sculpture one from the syrian contrenimal is installed. this is the middle of china on the yellow river. and the second one found a place in minsk. in minsk, the city arts council approved the cultural work, noted the competent decision, and we started to make a sculpture of 5 m in size, bronze casting. how do you see i'm using in plastic given? sitting in this bundle, this is my sculptural method, i am convinced that in each of us there is this invisible metaphysical connection. a certain unity of some opposites. let's say in each of us there is good and evil , light and dark, hard and soft. i am only the language of sculpture, sculpture - this is such a language, i only visualize, i make it obvious that the artist is hidden - this is a person who is engaged in his own creativity, that is,

creativity occurs based on inspiration. and not by order and not by decision, you understand, that is, out of love, and not under compulsion, therefore an artist is someone who creates his own works, inventing, as martin haiger said, hiding invents tu the very truth towards which the work strives, which strives to describe the work, therefore the artist is the man who creates his own works. only they provide services to the population and others. for organizations, everything else is, as it were, derived from gray creativity, this may be, this is normal, but i create my cultural works, developing, as it were. it didn't sound like the sculpture of belarus is our national art.

i try to describe with my creativity. uh, my attempts to figure out where we are, that is, we are in the universe. here we are now on surganova street on one side on the other. in my workshop from the third in minsk the fourth in belarus from the fifth on earth from the sixth in the universe, you understand and the human consciousness is so arranged, we are trying to figure it out. where is it all and us. uh, visit different issues and my sculptural

works. these are attempts to understand one or another historical period. uh, with the topics that i care about and when i look, milk or casting or the smell of rain. he sends me back to that moment in my history personal stories that i was in when i created it, like a time machine, you know, i can transfer there, looking at my work and remembering nostalgic even experience it. let's feel the emotions that i experienced while creating it, so each of my works for me personally is still in its own way. this is a sculpture of a bird, i started to create it. eh, while studying. u vladimir ivanovich zhmanov. then i changed it and transformed it. it is installed in a chachun. she is also part of the collection. national art museum of the republic of belarus well, uh, there is, it is also in other collections, that is, it is a sculpture. e.

about how, in my opinion, the theme of some kind of unity of attraction is described in an ideal plastic way. uh, some harmonic alliance e. this topic worried me very much at the time when it was created, it worries me, and now the red thread goes through my whole life. e theme of this e presence of two opposites in one it would seem that causing some kind of e, contradictions. well how here is a day and a night cold and hot, and here is this sculpture. this is my kind of plastic attempt to connect. uh, some kind of opposites left and right western eastern male and female, if you want, it is about all the meanings that are only possible in 2002 at 25 years old. i won a competition in china with physical education or they liked fantus, apparently, and they began to invite me. and

of course, i liked it. china i, in turn, got carried away. e, so to speak e theological teachings of confucius lao tzu. well , i can't call it religion. it's not again the same attempt. e people to understand what is harmony with where we are. eh, how can it be? how to live? how to live? right or wrong, there is a way. uh, how to follow it a and in general, i have developed such an interesting culture and worldview, the chinese competition looks difficult, but i was lucky, i guess 50 out of two thousand applications are chosen. that's it. compare yourself. and the fact that seven of my works are installed in different cities of china well , it says something, it's hard to describe. uh, what motivates me or i motivate myself or him i am motivated to create a work. i can't help but do what i

do. i can't help but create a sculpture. and it's a sculpture. this is my report. about what i was born for. i was born. nobody asks me. whether i want to be born or not, like you. i was born i must accept. someone must have wanted me to be born. then someone wanted me to become an artist, so the circumstances developed, then someone pushes me to come to the studio and work every day, when i stop coming every day work, trying to deceive yourself. here is this one by myself and when i return to the artistic process again. ridiculous becomes good, so my main viewer. this is the one who launched my existential process.

i am single. my family is my work. i spend a lot of time in the workshop. i am so passionate about this creative process. it is somewhat similar to motherhood, when you are fertilized, bear children, and then bring up my works of a kind, these are children. look what i did an elephanthus piece, and then that piece takes me around the world opens up opportunities for me gives me contacts when people look at this piece. i think

at the same time, they look at me as well, when people look at me, they look at my mother, you understand, therefore, my families are so far that we are talking about my family. this is mom dad. i know well. the same, well, yes, how to love our lovely grass in belarus to visit downtime and rightly so. it was in china that he left for the first time for a long time, creating a work. the fact is that the competition in which i participated is an international project and the flags were raised and the anthems of all representatives of the participating countries were played. and then, thanks to this competition, i fully realized that i was an artist from belarus, you know, went there and looks at me like they ask an artist from belarus. and what happens in belarus, how does it happen in belarus, how does it happen in belarus, how

does belarus happen, then what is the artistic process developing, that is, they look at me and think about belarus and you begin to understand that you are not just some man, that you came to belarus from belarus and you are associated with belarus for other people from brazil from japan from china from great britain from argentina and this definitely imposes responsibility on you . that is, you yourself already had russia and this imposes responsibility. it's trying, it's stimulating, it's stimulating, let's say, to do the best you can. as far as you can and so on, therefore, after the first visit, when i returned to belarus september these leaves falling no one, we drive from the airport empty vast spaces. the bright blue sky is shining,

the sun is shining. how can you not love it. if you want something to change in your life, as they say in yourself the world around you will change, and this is not empty pathos and the truth is verified in the fact that in my life people often changed and changed according to such an internal, so to speak, request or the feeling of being yourself. here was. i was surrounded by people like that. i become like this. here come the others. become it come, third, therefore people are different everywhere the question is not what kind of people in belarus the question is, but rather what kind of people in belarus in my life, but in my life in belarus they are magical.

in general, everything goes by very quickly. i want to tell you, and how to keep up with this on the one hand. it's amazing on the other hand. in this, there are elements of drama or nostalgia. if you want, you know, you look back at some times that no longer exist, and these people are gone, and that’s it. so it passed, when, uh, vladimir ivanovich banov died, i had a very strange dream. a few weeks after his death. this is a park near glebovka, autumn, where we go. the sun is shining, and we are going ahead, and i watched our banov, and he is so far away from us. i say vladimir ivanovich you are no longer with us, it is so strange, he smiles, look at me, he says. yes, max, i'm no longer with you. and we 're moving on and so good. well, i wake up and understand that the bans have left us, so

all life is short, to waste on negative emotions that arise due to some accidental misunderstandings. i am i take it so hard to define. yes , this is the concept of happiness, love, uh, i, uh, have the opportunity to create a work and are happy about it, it warms me, understand? i look back at the people who come into my life, those who are, who were, and it somehow feels good to me that people like leonid levin leonid khobotov came into my life lyudmila petrul. i can name more and more, and of course, my friend architect vadim drazen, with whom we are creating a work today. through the urban environment so happiness is just to be in the process and create a work.

we are now in the center of transplantology, hematology surgery, this is an image dedicated to those donors who donated their organs on the one hand, and on the other hand to those people who are waiting for their donor, so this work is about something so very personal intimate, so we decided to make one vertical, standing static figure, resembling either a person, or a shadow, or a ghost inside, placed his

light initially. we thought it would lampatka some kind of burning so lonely red light, well, at the artistic council, in my opinion, the art of the lenin prize yugranov, one of the authors in khatyn recommended that we consider the possibility of making a pulsating heart in the rhythm of the pulse of a healthy person. approximately 60 beats per minute. i liked this idea. the architect vadimudrazhin also liked it and the customer, professor, kalachik, also accepted it as very interesting. uh, we managed to, uh, introduce light inside, make water outlets in general, uh, introduce it into the sculpture. this is an additional fourth dimension , this inner cavity at the moment when we started making the sculpture, angel. i worked just like that with the interior completely sculpture. it seems to me an underestimated topic, in general it is very interesting, and we introduced an angel into the sculpture - this is an additional dimension, it is such a volume in volume.