this is a friend of our family, a friend of my children. artist alexander rodin i do not tolerate such slippery definitions: one of the best, one of the unique, one of the outstanding, they say about someone, determining, so to speak, the level of this personality. you know, sasha rodina corresponded to all these definitions, he was the best, he was unique, he was unlike anyone else , even his way of life was strange. his actions, the environment in which he even lived, the facts of some biography, everything about him was unusual. reality he knew how

copy everything from reality, but he somehow assembled it all, or something, in his own way somehow correlated the different scales. these are the phenomena that he depicted and created, thereby his own world and into this world he pulled his viewers into us. his surname, well, as if in russian , it’s rodin rodin in belarusian, but in latin letters , being written rodin, it read like rodin chandelier dent, an outstanding sculptor of the 19th

century. even this was somehow strange for sasha, except for friendship with my family, except for personality, which was generally in skin into our home. except for the paintings that he gave me, except for the very expensive gifts that he brought and bestowed on us all. you know he did it to me. it’s just, well, how the creator made a discovery. one day we were walking through the exhibition of one of his colleagues. and suddenly sasha says, a little irritated, oh yes. well, what kind of painting is this? these are colored drawings. painting is when you paint a painting right away, and this was revealed to me by sasha rodin

. let’s meet? in 1988, i sat with him in front of my cell. belarusian artist. and lev storonovich oleg matievich alexey marochkin and sasha rodin and there was a conversation about what the belarusian east is, and you can show up for them there. sasha smiled and was silent and we had already shot the film mara and

somehow gradually it was with sasha that our rapprochement began, he became worse in our house and we were very drawn to him. my children loved it, my wife loved it. we actually became friends with him. this is a very dear word to me, because very few people called me their friend and considered me to be one of them, and so sasha was i was born one of these people. sasha in baranovichi you know, such a businesslike city, a large railway junction, no old one there, not there in the year sixty-seven. in minsk he entered our theater art institute in the painting department and studied with ivan a. nathan's horseradish. voronova ulivshitsa is a good school. he had good teachers. and this is what his classmate tells interestingly about him. alexey marochkin, their easels

stood next to each other in the studio. sasha says he’s taking a closer look , he’s taking a closer look there, let’s say at nature, at model, then takes binoculars. he examines the model and writes writes writes looks writes writes bringing the object closer, when he says it seemed to him that everything has already been depicted enough sasha turns over the binoculars. that is, everything is already in some distance and continues to write. and here, probably, it was born. this is his style of multi-scale real objects, and on his canvases you can see his canvas. this is me at eight by 10 meters, and then you can get closer, almost touching

the canvas with your nose and again see something so new, what you haven't seen in the distance. that's a long way to go. here above me is a picture of him called ancestors. this is already the beginning of his native binocular, unique nature, if i may say so, which he perceived with some kind of double vision and tried. this is the image he encrypted to transfer to the canvas so that we could then flow into this world of his homeland, be imbued with his codes, and try to understand, in general, what he wanted to depict. how to understand this? how should we perceive this? when both are mine comrade and motherland marochki, we graduated

from the theater art institute, my children were still studying at the art lyceum, and both gave their already battered easels to my children. well, my guys didn’t start doing fine art and didn’t use easels. i keep these rarities. i think they will still wait for some new owners. institute in 1972 sasha eventually brought his parents to minsk. they settled in a house before a military building on leningradskaya street near the station, and the union of artists gave sasha a studio above

mcdonald's. on the top floor of nemiga , his early minsk translation of his work began. in an interview with me, the presenter of the third channel of new culture anna asked me. is it true that the personalities you meet in life later become characters in your works of art? yes, it’s true and not only people, but even the environment in which they live, the environment in which they lived, existed, created. sasha rodin is unique. in the third part of my trilogy of elusive plots, i described sasha well’s workshop. you've never done anything like this haven't seen it anywhere. try to imagine this from the abbreviated description of sasha’s workshop. here in my novel. even though those

who entered for the first time usually froze on the threshold of the path to the feast, those who had previously gathered were not there, the entire space of the workshop was a single still life of a bunch of dead drapery plants. a skeleton suspended from the tops down six months ago of a christmas tree with scraps of garlands, stretchers, physical instruments, stuffed animals , old weapons, bent wind instruments , bowls and books. everything was strewn with surfaces, tudors with sketches. in a word - this was defined as something for the experienced and attentive, the passage from the door existed along the right wall, then you had to jump at a right angle over the heavy roll of canvas and step, keeping your balance on the quiver of the antique chair after leaning on the recessed one into the floor. the saber jumped over the spilled and frozen varnish

, which had frozen many small components of the still life into the mirror surface; the one who entered for the first time was crushed by a riot of colors and a crowd of incompatible things, the owner, with a gesture, indicated the azimuth of the newcomer. exemplary the route to the table to the unopened sketchbook and moved forward in one hand he held. uh, a filled shell of a heavy machine gun, in another too, a filled eye rinse made of thick glass and handed it to this one walking. he asked the newcomer to move in small, light movements so as not to disturb the capricious pensioners of the neighbors below. this is what sasha’s studio looked like . approximately the entire wall to the left of the entrance was occupied by a painting called roots. here the top

bar of the frame was a small tiny stump, and the entire space of the picture was occupied by roots, roots, intertwining, hiding, covering up what the earth stores, treasures, skeletons, weapons, fragments of something, and the lower we looked at this picture, the darker the color became and it was completely dark that it was no longer even clear what the roots and the earth were storing. already under the very bottom. and the frame of the painting is roots - it was like the first sketch, or something, although it was a huge painting of a sketch of such a transition from completely real objects that appeared there intertwined with roots. and to those

different scales of perception in general reality, which he encrypted and transferred these ciphers to his paintings, the right wall at an angle from the entrance was occupied by fragments of his huge compositions of the 21st century, there is a mobile image. there the name is always very complex. why fragments because his entire work did not fit. well, how can you place a six-by-four work in the workshop? they didn’t fit there in height, let alone width, so to speak, so he mentally combined these vertical fragments and, as it were, correlated the light of transfer. so he mentally combined them and wrote

separately, these fragments and as a whole, not only we are spectators, but he himself saw them only when the opportunity arose to exhibit this entire six-by-four picture in some huge hall, which in minsk for the time being was very difficult to build. making plans for the super final or the route home is exactly the choice. the participants of the show. i know the awkward situation or graffiti, but there is something called ohm's law that is incorrect. since if the voltage increases by 30%, then the resistance should decrease by 30%. the most knowledgeable and the most courageous.

the guys will try to find answers to all the questions, because the current strength changes for you, firstly, and the resistance is in volts, like we have two katyas equal to three and 4 cm. that is , therefore, the hypotenuse will be equal to 5 cm, and they are fighting for valuable prizes and the honorary title of winner of the show laziness, we’ll probably assume. look in the project. i know on the belarus 24 tv channel. the most popular question on this show how does he do it? magic art or technology circus genre in which the only limitation is yours imagination. in the cultural fashion program

we will feel the magic of illusion before it disappears. watch this weekend on the belarus 24 tv channel. for many years in a row we are every new year. all the companies were welcomed with great joy into the perfect workshop; somewhere towards the end of the thirty-first of december, already in the last hours of the passing year, they were gathering. we waited until two arrows converged on the tv, which was working without sound, and then bags, plates,

saucepans, and some kind of thermoses without the elevator hummed silently, delivering more and more visitors. he was already taking them away from those who were walking, who were walking with how they were doing. endless doorbells, people came , new fans, old acquaintances left, how we jingled songs with my guitar, belarusian songs, here, uh, poets spat, read poetry. all. it was very funny. everyone respected each other, everyone had fun for about an hour. it's already night of the next new year. well, then we had a snack and after eating everyone went up to the roof, because sasha had the top floor, the workshop was his last floor. sasha had the key to the attic and

they climbed the stairs to the roof. his girlfriend is there. eh, his countrywoman from baranovichi and alena started some kind of polonaise mazurkas, lining us all up in pairs, half past one in different areas of minsk salute salute and this is on a tractor, and this is near komarovka and this is there this, that is, the whole sky over minsk is festive and joyful this all from the roof of sasha ’s workshop, when the fireworks seemed to be fading away, again everyone went down to the workshop, here krupnik was waiting for us, such a punch, hot national belarusian and fun was going on going on somewhere. well, probably until five, at least in the morning. this is how we celebrated the joyful new years in a workshop from

your homeland. of course, sasha will write studies there and show his paintings, which were already taken in catalogs everywhere. as always, as usual, i will only talk about what i witnessed and what i participated in ; in fact, it will be exclusive memoirs of sasha’s friend and member of the orlov family, which sasha loved and respected very much. we tried to be there. they tried hard at all his exhibitions. why because there were a lot of them. sasha was present at all my, firstly, family events. on all my birthdays, on all my celebrations in our house. doctors gathered for easter and sasha willingly

danced with female professors of medicine. so, the fat guy said some good things, he attended the premieres of all my films and plays, working on cruise ships. our daughter anya in istanbul accidentally looked into some tiny shop and the first thing she saw was a familiar picture. luxurious catalog published catalog alexander rodin berlin tacheles she asks the owner of the shop and you have a lot of these. no, here’s one copy i took for testing. what will you buy? well, of course, they bought it. why not buy a catalog from a friend of sasha rodin’s house with absolutely luxurious illustrations. all the curious details are from the internet. i found out that

martin reiter, gallery owner vladimir spivakov and vladimir suddenly, sasha calls and invites me to the studio to be free, i found out that in his personal collections there are works with sasha. he says sit down. here, what is volodya i have in mind? write a series of portraits of you in different states. i say that it doesn't matter how the roman council is. i sat down for 2 days. i came to him for 2 days . for an hour and a half, two of my portraits were painted with a gray pencil, then i don’t know the coals.

then he cooled down to it and, probably, these two portraits of mine, as i was already told by portraits of other figures, uh, of belarusian art and his friends and pals, are probably dug up somewhere in his studio, when you will eventually be found sasha’s personal life. well , of course, it couldn’t have happened without the intervention of my favorite playwright, according to name life is boring. there would be life. lyuda kalmaeva, lyudmila, a beautiful, elegant woman, graduated from, uh, our theater art institute, then received a diploma as a graphic artist. eh, we taught here at the tallinn art institute and then dear sasha salut got married. well , then, as i already said, he interferes in their fate. a local playwright named

luda’s mother was either a partisan or a front-line radio operator and had the right to work at an individual radio station. well, radio operators are these radio amateurs who have the right to enter broadcast independently, they are connected with the whole world, you know, uh, there’s my one world champion, so i say to the sport, bye. i shave in the morning. i've already found out how the fish bite in australia. what's the weather like? in alaska they already say everything, i already found out and here is my mother. somehow i got in touch with an englishman, who lived in ornimaldon in holland. we got in touch word by word and told each other about our families. mom said that her daughter is an artist, her husband is an artist, that’s all and this brian lonely englishman invited. uh, luda

and sasha could not go to holland , lyudmila went alone and the elephant of the plot and stayed there in 1992. she divorced sasha and married brian. but what is interesting is the continuation of the plot, it turns out that the house in this town where the lyudmila brians lived turned out to be a transshipment base for our bridges, they brought canvases there, and that means frame stretchers, there, uh, and transport throughout europe. this already provided everything let's take it. sasha, returning after another trip, sitting, shows us, so on the tablet, how it all happened volodya brian said at the time that he was such a guy. this guy appears here once a

year or once every two years. luda always organized her exhibitions here and sasha appeared, of course, at our home. one day she brought it and gave it to me. this is a very interesting portrait called young skaryna, and it hangs there. i'll come again next time. she suddenly sat me down and while my wife tamara and sasha rodina were whispering somewhere, they were setting the table. luda painted my portrait in 2 hours. and when i i love the director of the program and remember when it was started and offered a choice of his portraits. he pointed to the portrait of lyudmila kalmaeva, painted with a brush or pencil. and today our program is with you because it opened with this portrait of kalmaeva’s people. when brian died did sasha become

his ex-wife? to invite her back to minsk, he told her, you also have mom’s apartment here. for the first time, you and i will have a common workshop; you are a member of the union of belarusian artists. you were your man in the minsk goddess , calling her long and persistently. luda come. but it turned out that it was not he who called her here, but as if she had called him along. on august 11, 2022, on her way to the workshop, she jumped on the footboard of the train. well, to death. and 4 months later sasha followed her - this is the fate of the inseparable sasha and people.

they are ready to go to the end, ekaterinburg now, and before this was leningrad. and st. petersburg, there is an answer to what happened. but we’ll find out whether he’s right or not, and for the sake of victory they won’t stop at anything. i mean , this is minus one. why a minus two? well, it is less than -1, of course, yes after you turn your back to the tower. she made three more swings, watch the intellectually entertaining tower project on our

tv channel in the life of the belarusian people. there is a church. property of the republic of the polish army, the border guards took your mother away. who did it? the story of the struggle for belarusian culture, language and faith, a man without faith, son, the city is good, you know? well then , go ahead, and here and there our earth is a story that will not leave anyone indifferent until 100 days later, i went to wash my body with water. what for

people live if the end still alone cannot, and if nothing happens, in the very center of berlin near the orenburger metro station, next to the friedrichstadt palace, famous for its ballet variety show, right through the empty ones, and here on the five-story blank wall of the house there are three by six panels, where in two-meter letters it says motherland belarus minsk berlin this is a house with some very dark past they say there was

once a residential building there during the war some kind of closed institution there was then a bomb hit the partition, it cannot be restored they began to populate it, but the huge halls remained. on each floor, there are 500 by 400 m and a gallery owner. martin reuther somehow reached an agreement with the municipal authorities and this house was given to the artists as an agency. in the center of a city in the center of germany in the center of europe there is a theater, two cafes, exhibition galleries and an endless number of artist workshops. everyone tries in their own way on all floors, but all staircases are from the first to the fifth floor. covered with appeals, uh, covered with leaflets

with some amateur drawings and that’s all time arrows up rodina rodina on the fifth floor rodina workshop three halls of 500 m each are hung with his huge works. this is all 1900 m of area occupied by sasha’s work. there are approximately 300 people per day for berlin, this is an astronomical figure because there, if your exhibition is visited by 15-20 people per day, this is considered good, but there are 300 people per day, and on weekends 1,000. moreover, all this lasts from six in the evening to 6:00 in the morning. sasha paints pictures all the time, all the time, that is, everyone could come up and look at the act

creativity, because all the time the exhibition here was supplemented with new paintings, well, orlov with a guitar sings belarusian songs , a macedonian, jadamir on another guitar sings macedonian songs some scots enthusiast he should be on this on the bagpipes some german foil bands someone- then he sings something in english. uh, tapping on some box and people people and reporters reporters and sasha’s invitations sasha is sitting working. people already understand the codes of sasha’s paintings; at a distance of about eight meters there are white sofas, and people are sitting and peering at sasha. these panoramas are huge. from a distance of 8 m, then they come closer and see something else there, literally scratching

the canvas with their nose, you understand, and this is the seething seething of six in the evening until 6:00 in the morning of the day. i spent time in berlin museums. and i spent all these evenings and nights in sasha’s workshop. sasha lived right there and slept on a cot behind some of his paintings, because there was no security, no police , no people came and went. and this is an endless whirlpool, such a bohemian whirlpool. here he is, uh, sort of created a center of bohemia. berlin germany europe sasha settled there for 15 years and 15 years. sasha essentially lived on both sides. well, then somehow it turned out that some kind of bank. well, what about such a building in the center of berlin

and suddenly some poor artists occupy it? no, they need to clean it up, either by proving their rights, or by buying it with the police with machine guns. sasha talked about this in detail and occupied this building after many, many months. it was with great difficulty that they managed to take sasha away. just from there my paintings. many, by the way, were damaged, but with liquidation. the respect of european berlin artists in particular for the famous belarusian oil painter alexander rodin did not end every year at the end of summer in some vacant lot near berlin in a fenced area beyond the entrance. where it was necessary to pay again for exhibitions under canopies, performances, some kind of staging, some

bands playing, that is, again bohemia huddled together, and the homeland was allocated the entire fuselage of a transport plane, partitioned in length and on both sides. works were exhibited from this partition alexander rodina every time. coming back after that. on vernissage sasha took out his tablet and at our table between meals he told us everything, he was right there. well, here i showed you here, wait sasha. what is this picture of yours? well , i wrote it there, right there like that, that means, that is, you understand, he continued to live this continuation of this takhel, so to speak, life. the most important thing is that there was no particular initiative on his part. on his

part there was only consent to participate in this, and this was all an invitation. it was consequence respect. em gallery owners of fine art connoisseurs from all over the world to the belarusian artist alexander ivanovich homeland. sasha was like you know, don quixote with a roll of canvas. traveling through europe in belarus he exhibited his canvases here, unfolding them, but like every don quixote should have a squire, his faithful friend, take him, became such a weapon, whom even in my phone he is assigned as mr.

zhmiter. and here is this zmiter. suddenly he was inspired by the ideas of tadeushar ethan, a man who defended the independence of the polish -lithuanian commonwealth and belarus at the polish sejms at the lithuanian house in the village of pears. there for baranovichi since 2013 . local authorities, with the help of the press and the homeland of the famous belarusian artist , began to hold festivals. yes, in august of the sixteenth year, i somehow took part in this and was persuaded. here they have a stage for performances by amateur art groups, buffets, samovars boiling. there they fight in armor with swords. knight. sasha overnight, hanging out. that's all, tired and sitting somewhere, writing

in the shadows and just dozing off, watching all this and the result of sasha’s authority , the fathomed intervention of sasha’s pictures, here. what is this house like? the museum workers and local authorities , the lyakhovichs, seem to have taken custody of this house, and now restoration is underway there. that's the power of art. some parts of the enterprise were closed in minsk, which had become unnecessary, and now on the fifth floor of the former workshop of the horizon plant , huge empty rooms with echoes with concrete floors with some kind of supporting

columns were released. large i-beams under on the table where the engines froze, huge hooks hung on chains, huge dusty windows covered with nets. here is the room for sasha’s five-six meter paintings, consisting of fragments. and sasha used all this again , a pilgrimage, again a crowd, again people, again a visit, that’s all. then on oktyabrskaya they vacated the workshop of some kind of plant, i don’t know which one, sasha had already taken over there , i don’t know at all, there’s just a huge space there, but there are already performance areas, some

places for rock bands to perform, lasers, well this is a long sound of youth, people are just crowding science 16. here. sasha finally got his space. to display his work in 2022, the year of his life. tamara and i attended four of his exhibitions. this is only for those that we knew; he took the troubles of the people around him dear to his heart. well, suffice it to say that when i got sick in 1999. son georgy, with whom sasha has developed a particularly close relationship, and probably more sincere than even with me. sasha found a way to treat it. he became, leaving your business. he began to walk with george, and they

spent hours walking around minsk in any weather and talking and talking and talking. sasha did not regret the most precious thing that god gave him, he did not spare his time, and he treated my son like this, maybe this also contributed to the fact that george recovered and recovered. well, probably the doctors helped, with whom sasha danced tango here in my house ; his artist friend became ill and began to go blind. and sasha began to carry tables for him as a supplier, i know only where he can go home or to the workshop products. he was diagnosed when mitrich discovered an intestinal obstruction lying unconscious on the threshold of the workshop.

well, of course, how could there be any traffic when i saw sasha eating? so you put him a sandwich. and sasha fingers him. be it sausage, herring, brisket, whatever. sasha plucked and plucked the herring from the bread. i plucked a potato from a sausage, you know? well, we found out that sasha got sick. well, you know, i always have the attitude towards illnesses that, well, if you get sick , you’ll get better, it’s 70 years. we helped a little through some of their acquaintances in the hospital where he was lying, they were interested in him and, perhaps, gave some medical advice to medical luminaries whom we did not know, but through our mutual acquaintances we reached out to them. sasha had one operation and a second operation. he was still in intensive care on december 19th.

having learned that sasha was no longer there, i somehow didn’t immediately sit down to write a script about him. i love him and i remember once walking through the rooms. i looked at his paintings. four landscapes of the seasons, how a picture is written through frosted glass chernobyl's jewel these are clearly sketches. there are some other works of his, here hangs one of the six. he was dying of peritonitis in paris. and now the vision that he had was captured in six paintings, one of them is from me, he has already taken it twice to a targeted thematic exhibition. so he always

returned it later. this is the paris of lights. bridges here in holland, mills, landscapes here, just a winter landscape. here are the ancestors, i thought, well, okay, here are some material things left from a person, moreover, material things, even his body, which is now buried, an urn i'll ask. it's all material. i thought ok. but talent is talent, where does it go, what happens to this talent? why is it not passed on to anyone? when he was still alive , i spoke in all seriousness in the company of people unfamiliar to him, introducing him. well,

here we are all talented, but there is one genius among us. this is sasha rodin meet me , i said this without irony and he calmly , unsuccessfully, also perceived it. there are few such people. and that’s why i sasha as long as i live i will love and remember.