you are, after all, a fool, aren't you? i tell you. hello girl, tell me how to get to babaev and you need a gas station. what are you yelling? i hear on the phone. i already told you. wait a second girl i'm running out of gas back and forth and i am village on one side gas station on the other side do you think i'm stupid? i don't understand, or something, of course girl, well, help the truth. i've been circling for an hour already , and you won't get lost like geography. enough, stop talking nonsense to me, that i'm completely stupid, or what? wait.

and yes, exactly. you are this one, like this one, a your surname is on k well, you still have such a song i like very much. i show you the village gas station. take a selfie with me. so like this like this like this like this like this you see me a little bit. who is she? this girl is my grandmother. what is it, you wow you lit? so what about the past tense? if anything, i can now light it up.

first i will collect the hair. look like this. it ’s just as beautiful, yes, yes, then i’ll dissolve it. well, so that at home. not too easy, no, but young. they are going to dress up and have no idea what beauty awaits him here.

i tried to call the ministry of emergency situations already here from somewhere i know. you didn't study in voronezh, no. unfortunately you have zero gas? somehow i didn't think, wait, egypt 2010 is under the rubble.

no, i've never been to egypt. where are you? wait, where are you going to pay? how much will you say? you won't regret it, just don't move until i tell you. so stop me something will not. do you mean? maybe he can be there. wait, isn't it difficult now? now you need a little on yourself now. to the middle, so here one button is one second and that's it. its

she me very smart. long time ago at this dacha done. as they say, everything will be fine.

in short, happy new year good system. okay, then i'll buy a canister, i'll offer gasoline to everyone . i still remember where i saw you. i have a memory you know trap. wait a minute. wait, wait, wait, that's nothing special so new year's trifle, girl, clean everything up. me to work, you understand?

he left, can you imagine, in some village in babaevo he left me for some village in babaevo. he left, i followed him. or maybe not, since he decided so. so it goes.

a bag of infinity a heartless winter my beloved is on the way the road is great

and god does not hear and my dance of love, so you know. you how to find a home, and winter will arrange glad on the way, love. you played and i call one and

my rally with snow. we'll be next to go win.

i probably came into this world to do what i do, so it's hard for me to rearrange myself without all this. just like imagining yourself without yourself. dear friends

welcome to my workshop please come in here you will see a lot of interesting things about how creative the process of creating works. in my method of maximalism. here is the first zone. where do you come immediately brutal, where? i create models, layouts, do 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'm 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, coming together, touching each other. they

begin to influence each other, as everything affects everything. eh, the form of their ligament of their combinations of their invisible ones. it would seem, yes, what i do links it this is a completely different continuation, that is, here here we see dominate here, uh, square in round. and here 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 sei. that is, i i create works that i so to speak consists of several parts. here, if 1 2 3 4 is called this policy material. well, this is such a substance that dictates certain conditions, for example, i think to do it, in this case, to do it from wood. and this is made of bronze, for example, this is made of aluminum. and this is made of plastic, this is made of e-stone, and this is the base of bronze, for example, aluminum. and it's cast iron. so i'm in the process of thinking right now. that's what

they do it for. everything, in fact, small sketches, as we know, first pencil then here are such three-dimensional ones, in which we arrive alone with ourselves, in general, creativity is such a process. only technologically so manual yes, manual, but also intellectual. therefore, i suggest that you go to my bedroom on the second floor, so to speak, where we discuss with my friends visitors the already conceptual, intellectual, component of works of art. my last name is petrol in belarusian, the fifth steering wheel, and this piatl is mine, yes, what happened, in my opinion, is a passport. yes, uh, there's a loop, the village's in belarus petruli not far from ashmyany. are there petrushkis villages abroad in lithuania? uh, when i was in lithuania, i went to the exhibition, and there the artist e people for the artist

of the lithuanian ussr petrus, a painter, and next to him 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 piotr for me sculptor alexander matvienek my colleague worked here, and unfortunately, he left us, because he needed a kidney transplant operation, well, he did not wait for his at home and a few years ago they turned to me. e. doctors transplantologists and professors of our center of minsk transplantology with such an idea of ​​creating an image of e, the 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 a work of art in the image of uh, icons uh, frescoes, in general, and 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 who donated their organs. you name maximalism is something ironic, that is, as if on behalf of maxim well, the postmodernist 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 e sea. walked leviticus if they were saying that their simple geometric bodies mean nothing, besides being simple lyrical bodies, then i say that my transformed geometric bodies, speak of all meanings , describe the very truth that heilbert said, that is, their minimalism does not mean anything, my maximalism means everything, as he 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 ism. 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 soil. yes, in space and culture, and in particular in vitebsk, the group worked more interestingly. shih artists headed by a seed storyteller 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 guide text 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 , then we can’t limit the viewer, if the viewer, for example, looks at an object, yes, at a sculptural work and see something that i don’t 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 modernity, 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 rock garden a rock garden there 15 stones, but we always see only 14. everywhere 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.

is it possible to smooth out the points of tension in the information space? a secret, maybe i’ll open it, but i don’t see anything terrible, i myself am for this is what i will answer. why it is possible and necessary to doubt this figure in the direction of its increase in the new editions of the editors club project, experts continue to discuss the most important socio-political events and the influence of the media on public opinion, therefore, of course, analytics. uh, the collection of materials today should come out on top in the world once again the world, only this provides the basis for the further development of the club of editors. watch on belarus 24 tv channel. you know how to determine the question that this part of the participants will never answer, everything is very simple ask any you will not be mistaken erudite intelligent belarusians. i haven't been able to answer the question yet

. and natasha already wrote something there. you all think so, although what i asked them, they do not come to seriousness at all ready to give all their strength to win the main prize of the rat. i heard a mouse. you say rat again. i accept the answer rat. this is an absolutely correct answer. yes? what the prospectors do as i understand it, the creative answer will be 821 days and not a day more and not a day more see in the intellectual and entertainment project tower on our tv channel. i

want to show you a couple of works that are notable for me here, here is a canvas. anatoly kuznetsov in my opinion. this is one of the outstanding painters, modern belarus. here is his canvas, which clearly demonstrates him, and his approach is his creative method . who told me and presented the avant-garde in the form in which i fell in love with it and this one is dapper in that when we talked with him, he hung in the workshop or not up to the trunk, and today he is in his place. national 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 the space of painting we are in the national art museum of the republic of 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 petrol. to the thirtieth anniversary of the artist. what is unprecedented for our art museum, from here, so to speak, my long creative path began, 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, the ride collection, this is a german philanthropist, a billionaire industrialist. each museum is good in its own way, but i remember especially. those museums to which i

am related, so i can say that national road art museum. 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 christo and jean-claude with david hackney from gabrielle, the wife of vasily vasilyevichansky, 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 wassily 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 i was born in the family of a belarusian artist, teacher-writer petrul lyudmila ivanovna, my mother paid me a lot of attention from childhood, gave me books - these are folios, e

from various museums, gallery collections of works of art. as a child , i spent a lot of time with books with paintings by giorgioni titian rembrandt. and that's when i think and began to take shape as an artist of my childhood. i spent in such a district of minsk as a toy. that's in childhood. i played football and was fond of doing. well, how and 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, at that time i entered painting, but i was given four points for myself. and i didn't like it very much. you know, well

somehow it became uncomfortable. 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 is in a wide range of relationships that you understand both mother and son and two artists. and uh, sometimes we confront sometimes we are friends, but in general we have the most wonderful relationship with my mother, very warm professional helpful pleasant interesting. i am very glad that i was born in the family of lyudmila petrul. we are very critical . i mean analytically genetically. it doesn't mean when we scold each other. we analyze, argue, show each other our ideas, the fact is that

a work is not born immediately, like a person, that is, it takes nine months. yes, from the moment. so to speak, the conception, and the work from the moment of inventing for implementation. it takes about the same time, so i sincerely believe that. all my works in some sense my children i 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. well, then he was not yet a famous 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 about my creative path all the time. he is still different. uh, i met in my life, if with leonid vasilievich khobotov in parallel, uh,

how i studied at the school named after glebal vladimir ivanovich banov. leonid khobotov - this is the leader. e of the creative association is not mega-17, which includes zoya litvinova e, galina garovaya, tamara sokolova is a group of belarusian avant-garde artists, abstract painters and sculptors who had a different point of view rather 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. and 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 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 category. 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 set up my first big culture in china at the age of 25 and this is where my career started .