evaluated while studying, but in 2002 at the exhibition of the republican competition i received first place in the nomination of sculpture, then this sculpture was taken to moscow to the new generation exhibition, and then. i participated in the park sculpture competition in fujou city 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.

the best commentators are well-known coaches, we are interested in, first of all, first of all, the club wants to play in the premier league so that it must have the infrastructure, the main task is to create a competitive team that would be mentally ready to fight for the highest places, so here is the responsibility and, of course, painstaking professional work bright sporting events in the world of football are playing for elimination. the fans are excitedly watching the boy, because the favorites reports from the scene are falling loudly. at first i did not want to go high scary, a little incomprehensible i was afraid, but then everything was fine. i went every year, there is a team that will shoot always so it was and will be everyone wants to be this team that shot. watch in sports projects on belarus 24 tv channel. how react is created without serious evidence.

do you agree that you want to speak unproven, let's talk, but the facts on the table are important to understand that if we do not see something, this does not mean that it does not exist. what is a new value, and why do we need them imposing a strong enemy is not profitable, thinking too or this is another, we will collect evidence, consider different versions and show the contradictions in the project. this is different. watch in new releases on belarus 24 tv channel. this

work is based on 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 was hiding, where it was hiding. here we kind of created this culture, proceeding from. here from this plot from this narrative that is here the place behind which the sun hides means plastically it is a half-disk, which, thanks to the possibility of the interior, consequently, the presence of a ceiling, create 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 external space. these half disks 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 in a cat is released into a new apartment there or into a house. so in the subway. uh, we started a tradition, how to release a work in the metro, and it is experienced here, because before the beginning of uh, the opening of the station from the moment of installation. sculpture some time passes and the sculpture of strangers lives, 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 just touches working in this way, expanding your 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 realization of the departed. villages. let's say here is the first station of the branch. well, the new pear station in malinovka is a fur petrovshchina, because this is a village that is no longer there. we don't even know where they were, but in this way we preserve the memory, but in urban toponics. and i also preserve and bring this memory bank with my works, because the work has functions. uh, preservation of the accumulations of the memory bank, which 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. b. of course, not so pears, in which you now see pears in the private sector. you see, two-story boraks. here is some kind of pear. my

childhood for me and my emotions conveyed by my impression of a pear empire in this work. we are now heading to the metro station francisco bugushevich square, where we will look at my sculptural work book belarusian created dedicated to the life and work of the belarusian writer frantishka, bogushevich. work on this work on the image of the sculpture object for the metro station franz bogushevich square. the architect vladimir nikolayevich and i thought for a long time, how to take a quote, there were several capacious and vivid 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 inclined to quote. you don’t leave, you press our belarusian one, no matter how franchizmshevich didn’t die. our belarusian culture takes its roots. in particular, art, not in the big academies in paris and st. petersburg, but grows out of 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, at the heart of this work is weaving a carpet, their knowledge was transmitted through ornament

through weaving broadcast certain myths , legends, and ancestors about the future about nature, and the sun about the harvest, and so on, the attempt was still glorified in his work to be ordinary people, purely technological. 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 are more you can’t do anything 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 only fix it so to speak and make it 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

weaving, but as one japanese sculptor mitsuki, 40, a survivor of the hiroshima bombings, told me. first you start to make a culture, and then she herself tells how to do 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. that, in principle, leave this copper color, which over time gains 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 is a sculpture from her history , one of the five sculptures of the contr animals series about the history of sculptures is in the collection national art museum of the people 's republic of china, one was purchased by the ministry of culture for the national center for contemporary arts of the 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 syria was installed by china on the yellow river, and the second one found a place in minsk in minsk, the city arts council approved the sculptural work, noted the competent decision, and we proceeded to complete the sculpture, size 5 m, bronze casting. how do you see i'm using in plastic given? no, no, this bundle, this is my sculptural method, i am convinced that each of

us has. this is an 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 you understand not by order and not by decision, that is, out of love, and not under compulsion, therefore an artist is someone who creates his own works, inventing, as martin hager said, hiding invents the very truth that a work that strives to seeks to describe a work, so an artist is a person who creates his own works. only they provide services to the population and others. for organizations, everything else, as it were, is derived from sulfuric 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. it sends me back to that moment in history, my 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 is for me personally just in its own way. this is a sculpture of a bird. i started

creating it. eh, while studying. u vladimir ivanovich zhmanov. then i changed it and transformed it. it is installed in a chachun. it is also part of the collection of the 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, unity, attraction, some kind of harmonic alliance, is ideally plastically described. and this topic worried me very much at the time when it was created by it, it worries me, and now a 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, like here money is cold hot nights. and here is the sculpture. this is

my kind of plastic attempt to connect. uh, some two opposites of the left and the right western eastern male and female, if you want it about all the meanings that are only possible in 2002 at 25 years old. i won a competition in china with pe or fantus im i liked it, apparently, and they began to invite me. and naturally. i mutually liked it. china i got carried away learning everything. e, so to speak e theological teachings of confucius lao tzu. well , i can't call it religion. again, this is not an 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 developed such an interesting culture and worldview, the chinese competition looks difficult, but i was lucky, probably out of two

50 thousand applications are selected. compare for 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. eh, what motivates me or i motivate myself or he motivates me 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 else. encourages me to come to the workshop every day and

work. when i when i stop going to work every day, trying to deceive myself with 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'm so engrossed

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. here, look, i made a work of elephanthus, and then this work takes me around the world, opens up opportunities for me, gives me contacts when people look at this work. i think at the same time, they look at me, including the same way, 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. it mom father. i know here. wow, it’s well said, yes, how to love our dear grass in belarus to visit different parts of the world and rightly so. it was in china that i 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

played by all representatives of the participating countries. and then, thanks to this competition, i fully realized that i was an artist from belarus, you know, having left there and looking at me at an artist from belarus and asking. and what is in belarus like in belarus how it happens in belarus, how belarus happens, then what kind of artistic process is developing, that is, they look at me and think about belarus and you begin to understand that you are not just some kind of person. and what are you, belarus came from belarus and you are associated with belarus for other people from brazil from japan from china from great britain from argentina and this places a definite responsibility on you. you are no longer on your own, you are belarus and this imposes responsibility, and you try it stimulates stimulates let's just do it the best we can. as far as you can and so on, therefore,

after the first visit, when i returned to belarus in the autumn from a hot fujou, in which it was plus 40, i arrived in belarus at the end of september, these leaves are falling, there is no one, we are driving from the airport empty huge 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 the laotians say themselves and the world around you will change, and this is not an empty bag and the truth has been checked. the fact is that in my life, people often changed and changed according to such an internal request, so to speak, or a feeling from oneself. here i was in such an environment, i was surrounded by some people, others are becoming such.