the event in 2020 in minsk, now what we saw in the events in makhachkala, well , about the same thing, the same technology, who does it rely on? into two types of elements, even three, let’s say, into the opposition that exists outside the country, which is egged on by money and technology from the west, which organizes this whole thing, and two elements inside, the first is people who... who don’t they understand what they are doing, they can be encouraged to come out like this, to protest, such a situation exists in in any country, the only question is how much

the local special services are able to see these people, allocate them to work with them, these provocations will continue. andreyvich, thank you very much for participating in our program, thank you for taking the time. thank you. a professor and a member of the presidium of the council on foreign defense policy was in touch with us. russia, andrei bezrukov, well, that’s all for today, see you in a week, happily.

every day we feel millions of emotions, we can be glad, happy, happy, sumavat, for hours our emotions are with us not normal, but music, music expresses our emotions with mats, this emotic force is lethal for our souls, and our fathers, for us,

have become irremovable puzzles of our life. because the mystery of music is that i know an inexhaustible principle of expression there, dze mova zmaukae, music, instead of a thousand words. secrets of good morning and good mood.

transgenic goats are absolutely right and journalists talked a lot about it, quite a few years have passed, where are they, what happened to them, getting to know amazing people, and this handsome guy who eats pineapple, it’s you too at bodogaskay, it seems you came for grapes, but the blueberries have already shocked me, that is , it’s absolutely true, when you were in your mom’s tummy, dad decided to do this, and also for there is a lot of useful and interesting information; today this herd of producing animals is registered in our country as a source of human lactoferin. good ranitsa belarus. watch: good ranitsa belarus with svetlana borovskaya, on the belarus 24 tv channel. we follow our sports life

countries. egor gerasimov reached the second round of the chinese women tournament with a prize fund of almost $100,000. it’s clear that we didn’t prepare to win like that. there are 10 matches in a row. cooperation with the russian fencing team allows our athletes to significantly progress. we review the most interesting event in the capital - a doubles tennis tournament. parents at the competition acted as partners of their children, although everyone won in this situation. players of dynamo minsk, alexey kolosov and vitali pinchuk according to the results of spectator voting will go to the stars match. we are confident that this year will be no less interesting than last year, with each year the league progresses little by little. is gaining momentum, we listen to the opinions of competent specialists, for me it’s generally an indicator of how the team feels the next game, a victory against bad things brings confidence, psychological relief is taking place, all this is in the sports projects on the belarus 24 tv channel

. hello, the program “tell me not to be silent” is on air, studios tatyana sherbina and svetlana smolonskaya. and visiting us today belarusian sculptor and designer, maxim petrul. hello, hello, maxim, thank you for coming. your birds, recently installed for the city day in front of the independence palace, caused a lot of noise. internet users, and let’s say , art, what will the author say? well, i wouldn’t react in any way to some armchair criticism of a comment, well, people are different, understand, we work, so to speak, in the system

of art, this is such a conventional type of activity, institutionalized, which has a history of thousands of years and so then there are philosophers of art, art critics. happens, in which we integrate, we come there, we study, first in an art school, then in a secondary specialized institution in higher education, we are constantly improving, our teachers are the same, professionally working masters. in particular, my teachers at the akhremchik school were leonid grigoryevich davidenko, a belarusian soviet sculptor, then at the minsk state art school named after glebov there was vladimir ivanovichnov, a famous minsk sculptor who created a number of striking works, established. in different parks of minsk, he had a very high degree of self-irony, i’m ready to tell you, he was called a bad sculptor, from the word square, and in general he was such a very lively, active, artistic person, so i was lucky enough, uh, so to speak, to touch his work, to his works, i worked

as his assistant at one time, we created sculptures with him for komarovskaya square, that’s natural, and then i started working as an independent artist, exhibiting, take prizes, win international competitions and so on and so on, well, that is, this is a whole process that has been going on since the times of, uh, so to speak , the primitive communal system, people are engaged in sculpture, creating an artifact venus of velendor, such a small statue that is in the museum natural history in vienna, and it’s important how the audience perceives it, and the audience also needs to be prepared, because well, this reaction, so to speak, of armchair commentators, why does it seem so to me, because well, people to a certain extent degrees are not ready to perceive works, well, they have not raised people to perceive works, because this... this is a new phenomenon - since the end of the 20th century, in different cities

of the western world and far east asia , such things began to arise as the integration of a work of art into the urban environment, starting with klaus oldenburg and then the chinese picked up this trend and began to establish it, and we are the first to install it with vadim drazhin, a belarusian architect, first deputy chairman of the belarusian union of architects. vadim vladimirov drazhin, he and i began to integrate original works of art into the urban environment, so, well, no one had actually done this before us, so how menchan residents and guests of the capital perceive it, well, differently, depending on their cultural background, from their upbringing, education, understand that well, to see a food product in a four-meter bronze casting, well, maybe he was hungry, in the painting of molevich there is a black square too... he sees something of his own, of course, as they say, the artist, uh, broadcasts himself, and at the same time

each viewer sees himself, his own experience, but i cannot directively tell people what they should see and how they should feel, but the work, understand that, for example, an unprepared viewer, unfamiliar with the phenomenon of theater, who came for the first time, can also go to the swan the lake reacts in different ways, for example, approach the stage and start throwing bread, so to speak, with good intentions. the desire to feed, otherwise they are too thin there, you know, right? well , after all, if we talk about birds, here’s your concept, after all, there’s an egg there too, and hands that hug, yes, that is, like the beginning of the beginning, look, svetlana’s sculpture is called birds, this is an egg and two birds, which it would seem could be more natural, yes, what else could be, of course, they are, well, this sculpture after all, these are not natural birds, as those same commentators tried to find out, but what kind of birds are there? these are pigeons or falcons or eagles or ostriches, you know, that is, to bring the situation to

this, you know, you can also listen already, i remembered swan lake and think what’s there in in a swan lake there is no sound of water or reeds or frogs croaking, so this is not a swan lake at all, you know, instead of these natural sounds, there are just sounds of a symphony orchestra, and built by peter ilvichekovsky in a certain sequence, again based on his experience, literacy, talents and even... to look for some natural sounds there, but this is absurd, just like here, to look for a naturalistic natural form, but this is absurd, although, well, the sculpture is called a bird, it has a very good fate, like us we know that a work is not only the object itself and not so much the object itself , but also the history, and the concept of the work, and the history of the artist himself, and the concept of the artist himself, all this adds up, so to speak, to the phenomenon of the work, yes, well, i can draw parallels with a book, because in a book it’s not so much ... the spine is woven with typeface and font size, but the content, you know, books

can be republished, but that doesn’t make them different works, it’s just that the same thing comes out in another edition the work, and here with the work of the bird, i began to make it at the glebov school under the leadership of vladimir ivanovich shbanov, whom we remembered today, well , then by 2007 i exhibited it at my first exhibition at the national art museum of the republic of belarus for the artist’s thirtieth birthday, it was a joint exhibition with... and my mother, a belarusian artist, textile artist, teacher, who is 30 years older than me and coincidentally, she was 60 years old 30, and we submitted an application, and the management art museum, the board of the art museum approved our exhibition, so i exhibited in an unprecedented way at the national art museum, an exhibition for the artist’s thirtieth birthday, and there i announced for the first time a finished bronze work of a bird, which was immediately purchased for the collection of the national art museum by the expert council ministry of culture, then i entered this work of art into a competition, an international

competition held by the chinese sculpture association, this is an accumulating association professionals, sculpture, chinese professionals who chose this sculpture, again from several thousand works, in an application of thirty, my work of a bird came out, i installed it in the sister city of minsk, changchun, china in the international sculpture park, and then this sculpture also turned out to be , that was... presented in the museum in the palace of independence as part of the popularization of belarusian art, about which, when, well, sofa commentators began to write something, very clearly, soberly, so thank you very much, me very nice, i received a lot of congratulations, you know, when i was little, i thought that when i do something big, interesting, everyone will like it, and when i grew up, i realized that there are people

who like , and there are people to whom, no matter what you do, they will always be unhappy, works, it’s just a matter of the internal state of people who are there, god knows what they see, you know, and god knows how they react to it, therefore, and further talk about the work, it means the work was created in within the framework of the construction of a multifunctional complex on pobediteley avenue, and the work, in this case, has copyright owners, people who decided to install this author’s work, they also liked it, and the architect vadim drazhin, the chief architect of the building, actually did it, the multifunctional complex proposed, we agreed this is all, again with the expert advice of the priming city committee, you understand, works are not installed just like that, so i or the copyright owner wanted to put it up, we took set, of course, it needs to be agreed upon, we agreed, again the work has a concept, which is also briefly described, for example, here on the source of half-first, well, briefly, that these are three volumes that

express unity, preservation, continuation of themselves, and so on, i think you are familiar with the concept of the work, in general, we went to the council, the chief architect of the city, members of the council, respected people, people who spent their entire lives in art, so to speak, excuse the vulgarity, they ate their teeth on this, so they accepted, we listened to some comments, wishes, suggestions, in general, we began work, again, work on the work is underway, you see, it’s not a day, not two, that is, to directly create a four-meter bronze work, six months at least, we had... only six months, this is not enough , i want to tell you, in a good way, such a work would have needed 8-9 months, but since i am a person, despite my rather young age for an artist , an experienced person, that is, i accepted this challenge, in general, for it took us six months to create this work, it consists of 24 pieces, i’ll share, no one knows this information, 24 pieces of bronze,

assembled together, processed, welded, tinted, inside a frame, that is, all this was agreed upon at all stages with the minsk city art expert council in monumental art, and then we submitted a work to an international competition held by the union of architects, which is headed by nikolai ivanovich shumakhov, he is a russian architect, people's architect of russia, he is the president, now in international association of unions of architects, and what we are pleased with, naturally, well, very pleased is that our work, the environment that we create, within the framework of which the work was created, received first place, a first-level diploma at an international competition that was held in tashkent, and then the national architecture competition , which takes place every 2 years, is a diploma of the international competition at the national architecture competition, this year, which was held, organized by the belarusian union of architects, with the support of the ministry

construction, architecture of the city executive committee, again, we take first place in the category construction of a finished structure, so high praise from professionals, good... two works and such a reaction from some, as you say, armchair commentators, well, the main thing is that this work did not leave anyone indifferently, they noticed, i’m very happy, of course, well, it was impossible not to notice, because well , this whole complex, and the publication and improvement of the adjacent works, all this is, well, bright, extraordinary, extraordinary, i would say, what this is evidenced and confirmed by the diplomas of our international national competitions, and then we are still nominated , i won’t say yet, but another of your works is also impressive - this is a bronze angel with a pulsating heart, which is installed next to the minsk scientific and practical center for transplantation and hematology surgery on simashka street and this sculpture looks especially interesting in the evening, in the dark, we know that

oleg rumo approached you with a request to make such a sculpture, a symbol of donation, it turns out that this work, a social order, is easy for you to work generally to order . our transplantologists , people who, in general, work somewhere, approached me, well , on the verge of a miracle, as i would say, you know, they prolong human life, people of very high culture, in particular oleg olegovich rumu’s deputy , oleg valentinovich kolacik, who spent most of the time communicating directly on the issue of creating this symbol, and suggested that i... create a symbol that would be sent to those who need a donor, who is waiting for his donor, with on the one hand, on the other hand, this is... a kind of symbol of gratitude to those people who donated their organs for the continuation of the lives of others, and we approached this topic, again,

so i invited vadim drazhin, an architect, to the project, because, you know , urban sculpture or monumental sculpture without an architect, will be incomplete, it is impossible to create an environment into which the author's artistic work would be effectively integrated into different... everything can be integrated, without an architect, because the architect is still a person who works with volume, with space, with light, with landscape, they feel some other things, again, this is a professional, a person who has studied, spends his whole life saying, evolve, develop, in tandem with vadim drazhin, our first experience, the creation of a symbol, was the only wish from transplantologists, from our doctors and professors, that perhaps it was an angel. because an angel is a kind of symbol of faith that exists between this world and that, there is something transcendental, divine in it, if

do you really want this to be a powerful symbol of hope in our culture, in our faith, in our mentality, of course, and we took the angel as a basis, well, what kind of angel? i studied - samples that were used in medieval, renaissance art, and so on, and throughout. the entire period, so to speak, of the development of art, i singled them out and decided to make an angel with a cavity inside, this cavity is in the shape of a heart, and then we thought that it would be interesting to place light there, you know, not only bronze, today are developing modern technologies, and i believe that it is necessary and necessary to use - to work with modern technologies in the space of sculpture, so we decided to insert light there so that it would burn like a lamp, so on the advice and

strengthen some kind of symbolism, yes, of course, on the expert advice , one of the council members, a respected architect, lenin prize laureate, one of the authors of khatyn, yuri mikhailovich, advised us to make it pulsating, we immediately picked up this idea, we liked it, they set about making, indeed, pulsating light. the question was where to insert the equipment and then we also decided to make the paste bronze so that it could be inserted into it. we take into account that in belarus, well, like everywhere else, yes, there is daytime, there is evening time, there is a summer period, when the days are long, that’s enough, and there is a winter period, when the days are short, night, and what is needed for this to do, you need to install lighting, in addition to the light that is built into the sculpture itself, uh, on the territory of the center there are: three light masts, again, vadim drazhin suggested, and as i already said, oleg olegovich rumoy, oleg

valentinovich kolacik went to the trouble of installing these light towers, which creates in the evening, as you correctly noted, this is a special effect, emphasizes this imagery, creates a mood, this is the mood in which this appears, is born, appears, is present the image of an angel, the image of hope, on the one hand for others, many people like this sculpture, but the same sofa commentators also tried, but you understand that there are always people who disagree with something, so to speak, this is something like that a party, a couch party of dissenters, yes, you see, they try all the time, well, you see, time passes, but the sculpture stands there, lives its own life there, yes, people really come to it, they even lay flowers there, and here you asked. why did everything work out well? because people of high culture understand that i am the author of works of art, they left me to decide

the image, they simply suggested a theme, and i created my own work of art, which is called an angel dedicated to donation, on the other hand, this is a monument, a monument to donors, and a symbol of faith and hope, let’s also watch a short video to confirm your words and continue the conversation. i use this connection in the sculpture of this work, this is my sculptural method, i am convinced that in each of us there is this invisible metaphysical connection, some kind of unity, some opposites, say, in each of us there is good and evil, light and dark, hard and soft, i only use the language of sculpture, sculpture is such a language, i only visualize, make obvious what hidden. an artist is a person who is engaged in his own creativity, that is , creativity occurs based on inspiration, and not by order or decision, you know, that

is, by love, and not by coercion. therefore, an artist is one who creates his own works, inventing, as martin heideger said, revealing, inventing the very truth that the work seeks to describe, therefore an artist, a person who creates his own works only, and does not provide services to the population and other organizations, everything else seems to be taken out of the sphere of creativity, this may be normal, but i create my sculptural works, developing, no matter how pathetic it may sound. art, we don’t sit somewhere at home, yes, and we don’t wait for people to call us and say: maxim , please make us something, there’s something there, every morning we go to the workshop, we arrive, we change clothes, we start working, creating, that we

motivates, then no one pays us, you see, no one is above us, no one forces us, we don’t have to come, an artist is a person who inspires himself, is inspired and does not work according to orders, when, for example, he sits at home and waits for someone to call him and ask him to do something for a fee, it is important, well, to be in a certain, so to speak, in certain settings, on a certain wave, a certain frequency, because everything in the world is energy, no fairy tales, pure physics, so says... one person whom everyone sees as a grandfather, well, albert einstein, an outstanding physicist, author of the theory of relativity, of course, and the autolativian theory and here we go this energy that suits us, every person benefits from energy, it forces, compels, gets us out of bed in the morning, and we go and create, we search, experiment, think, develop, each of us has our own internal censor, yes,

some have this, some have this. on the basis of his own experience, feelings, education, culture, well, all the components, yes , a person’s personality, a person reproduces himself, strictly speaking, in his works, like a composer in his musical works, writers, literary, and also an artist, sculptor, painter, graphic artist, in his works, so to speak, fine art, if you like, so there’s no need to talk here about some kind of order, about a service, this is the most honest work... it ’s done based on inspiration, of course, it happens that someone applies, do this or that, uh, the artist follows the lead of the one who applied, the one who applied begins to impose his will, you see, the process is no longer a creative one, but a process of providing services, well, this is already mixed-up, very different things, they seem to be similar, in essence, and in form, more precisely, well, in essence, they are fundamentally different, look, for example, for

my short creative one, so to speak... there, at the age of 25, professional creative activity occurs , let’s say, we have a regulatory framework, when i started, they signed contract agreements with me, and during this time, well, the framework has evolved and today we work under copyright agreements, we transfer rights, there is preferential taxation and so on, that is, well, strictly speaking the legal framework, well, it manages to evolve in the same way as the entire artistic process within belarus, is created by... the author who transfers the copyright to use the artistic work, this is one question, the second question is when is this a contract agreement, yes, when is there a certain customer who, under a contract agreement, is asked to provide a service for a certain amount of remuneration, all this very much influences the perceptions of both one and the other, in fact,

that’s why i say that an artist is one, if you wish from above, by god, the creator of this universal energy, maxim, you are not only an artist, but also partly a lawyer, we just heard this, but for now we’ll take a short break, our telegram channel, say don’t be silent, invite us guests, subscribe, ask your questions. the program “don’t be silent” is on air again, and today our guest is the belarusian sculptor and designer, maxim petrul. but the famous metal pears on grushevka, on frantishka bagushevich square there is a sculpture of a belarusian book, this is an elegant semantic a composition that simultaneously imitates a book and an open door, and a window and a loom, and plays on bogushevich’s words, don’t leave our belarusian language, just as you haven’t

died. your work also decorates the malinovka metro station and jubilee square. how often do you visit your stations? well, i stop by from time to time, naturally, to see how they are doing. they were created out of love, as i said before, yes , they send me back to the time when i created them, you see, 12 years have passed, 11, yeah, since the creation of the pear, yes, in general, here is the history of the pear tree, yes, so i said that it is not only the object itself that is important , and not so much as the history, and so on, so i created a sketch of the pear tree back when i lived on the pear tree. you see, i spent my childhood, my youth in grushevka, and it seems to me that this is my contribution, to the place where i spent, and i am very pleased that i had such an opportunity to take these drawings from my studies in glebovka , again,

transform them a little and turn them into this, such a fairy-tale tree, such a pony from 342 pieces of fireclay mass, weighing 11 tons, located on a wall with a bend, 50 km away, yes, it seems so easy, in fact, you know, it was a very big risk, it might not have worked out, or an eight hundred kilogram pear , which was brought to the platform and lifted by 15 people, you know, from these rafters there, yes, can you imagine what they were talking about you at that moment, yes, i guess, well, this is such a challenge every time, so i end up there, when i come to pears, i find myself in those times, even deeper than in those times of creation, even well, somehow absolutely, this is a very normal trend that is happening here, in general we have a cool metro, it’s hard to argue with that, well, you see, the metro is cool, it’s just that we had a tradition in the soviet period, the integration of artistic expressions,

there true, within the framework of monumental propaganda, yes, and then we returned to this, i came to the minskroproekt to vladimir nikolaevich telepnev, this is the chief architect, unfortunately, he left us in the eighteenth year, here... this idea: why not create , on the one hand, here why not integrate the author's work of art, yes, this is what we do with vadim vladimirovitch and vladimir nikolaevich in our time in the metro, on the other hand, well, as if traditionally god himself commanded, our metro was decorated even here in the late seventies, when they were designing, but in the early eighties, the first station was put into operation, i think it was the fourth year, yes , here is our metro, it’s cool, it’s comfortable, look, it’s air-conditioned, guarded, you know, here i am was the world in different subways, and i want to tell you that we are very lucky with the metro, it’s a wonderful metro, and every time at the opening, the head of state comes to open, you know, this is the attention to our metro, and we should generally be proud of our metro, and the fact that it,

that we are building new stations, we can also be proud of this, because we know a number of former soviet republics in which, after the collapse of the soviet union, not a single new station will be built, absolutely, of course, the guys from the metroproekt tell me, but there in moscow , well, of course moscow. there are other budgets there a huge number of people, there are more people there than in the whole of belarus in one city, you know, but we do the best we can and that’s cool, i proposed using the metro area as an alternative platform to traditional exhibition spaces, museums and galleries, for exhibiting art works, but not easel works, but already urban ones, because there is a good climate, that is, air conditioning, care for works, protection of works, but despite this, you know, here is the grusha metro station, the work grushevka, there from time to time some people show supercuriosity, from time to time they break off a leaf, yes, well, different ones, from one pear, there from the second, some people detain them, understandably, because everything is on cameras, but, well, it’s

like this , you know, the kind of cognitive interest that little children have, yes, when children learn about the world, they bite the legs of the table or stick their finger in a candle or in a drum, so that where from, it’s about the same here, that ’s why i say, that a little more people seem to be, well, not... of such a tradition, habit, such, yes, it hasn’t been developed, this form of communication with author’s works of art, so often i think, not out of evil motives, but simply out of some kind of curiosity, such supercuriosity, that a person is ready to break there, and if these commentators there are birds biting near the palace of independence, then i wouldn’t be surprised either, you know, if for them it’s a food product, it’s something, well, we need to talk to people, we need to explain, clarify, educate, educate, bring art. of course, look what else is happening, here we are recently we were talking with one frenchman about education, so i remembered my soviet education , the eighty-third school grushevka uh, minsk, soviet minsk, i remember singing lessons, for example, and drawing, yes,

it’s clear that we drew there, and sometimes there , in my opinion, once a month, the teacher simply showed us, for example, the french impressionists, or the russian itinerants, and gave us such lectures, just for the general development of children, at a level completely understandable for children. also in singing lessons, look what happened, for example, we there, well, they tried to sing, but some have a voice, some don’t, some don’t, some have hearing, yes, but the teacher also played for us, for example, a work by rimsky korsykov and musorsky, so we had to learn to distinguish , to understand this difference, but what does the french citizen tell me, he says, but we don’t have this in schools, you know , they don’t study that much in our country, that’s right, we have musical culture, we cultivate a harmonious personality, of course, that’s it i remember this and then it seems, well, maybe i need to enter it again, i don’t know, today, say, is art history taught?

if there is, this is wonderful, because a person needs to be brought down, because modern culture is multifaceted , technology, equipment, production are developing , including the production of professional culture, there is cinema, theater, yes, works of art, architecture, people, you need to cook, pears how do fruits generally occupy a special place in your life, of course, this is the pear, i actually think that the pear can be the national fruit of belarus, these... pears, because pears grow everywhere, they have different tastes , sour, viscous, sweet, juicy, different, so i think that if we talk about what the national tree is, this is a pear, and i recently literally ate pears with that the pear itself, which grows on the grushevka tree, which served as the prototype for that tree of my work at the grushevka metro station. maxim, you invented a new direction in art called maximalism. which you work with, you briefly explain it like this: i take a geometric

body or natural material and turn it into conceptual sign, yes, everything is correct, but if you want to elaborate, well, look, here again too, this is such a maximalist statement, yes, roughly speaking, this is a kind of hemisphere, yes, which thanks to, here are two objects, this is, uh, a rectangle from stainless steel, in which this hemisphere, assembled from different materials, is reflected. here there is no rusting steel, brass, copper, these materials, in principle, cannot be welded together, yeah, but i found a solder that can weld them with argon welding, or semi-automatically, they have their own nuances, pros and cons, as in everything and it would seem, well, a very simple semicircle like a square, yes, which, combined with each other, in general, organizes the space like this, you were probably at the metro station, jubilee square, which in general well, what’s happening is, well, a certain well or a hatch

, some kind of other world into the world of space of a work of art, using minimal means of artistic expression, i ’ll just tell you a little in a nutshell , look, i was brought up, so to speak, in the method academic education, yes, it is an academic education, academism is european, western european, which came, spread through large academies, large european cities, then it came to st. petersburg in general: then it was, so to speak, transformed into already in soviet art education, the method of academic drawing was used, creating a work in accordance with academic rules and requirements, and every artist, yes, even having received an academic education, either remains within the framework of this method, well academic, well, he just works in it, and somehow improves himself, and there are people, like me, who, so to speak, are trying to find their own unique... plastic method, and there

are quite a lot of these examples in the history of art over the course of a century , this is the value, in my opinion, of an artist in his uniqueness and uniqueness, in the fact that he develops his own plastic language, and it’s good if this plastic language also has some kind of reference to the national , some kind of local authenticity, yes, this is also one of the problems that i work with, because the method of maximalism, that is , as you say, it is partly ironic, here on behalf of maxim, and in part maxim bogdano. than my mother called me maxim, on the other hand, this is a kind of opposition , if we take it seriously, to minimalism , american conceptualism , whose ideological inspirers were sol levite, donald jat, maury, smith, this is a group of artists working in america in the second half 20th century that they believed that their simple geometric bodies did not mean nothing other than being simple geometric bodies, i take a simple geometric body , transform it to a certain extent, and according to the principle

of doing as little as possible, and so that it means as much as possible, yeah, and thus creating an object of maximalism, this, in fact, is my creative method, is there a danger that in your maximalism you will reach the sculptures of alya zurab tseriteli, well, no, because zurab konstantinovichno is different, this is precisely the author, well, again throughout, last year i was in his museum, and in his gallery, a wonderful gallery on the prechistenka for everyone who can go to moscow, visit this gallery, it’s very interesting how he developed, here are his works, he is already such an artist of age, you see, meter, luminaries, yes, art and he... also changed, yes, but he still remains more within the framework of the academic method, although he also moved away from it, we can recognize zurabatseriteli in some works and you see, again, the same couch commentators

they criticize his works, well, you see, it’s easy to criticize, don’t build, but vilify everything, uh, well, i don’t look like zurab konstantinovich, well, it’s just that i can be compared with some representatives, i compare myself. and art critics who work with my works, immersing themselves, studying, can compare me with representatives of the russian avant-garde, again, this is such an artistic phenomenon, a phenomenon of our culture, which originated directly here, if academic art came from western europe, and simply it has taken root with us, it, well, you must agree that it is not originally belarusian, well, yes, it is very difficult to call it some kind of russian, belarusian, slavic, this is italy, france. you see, yes, it came here, this is borrowing, this is a phenomenon that was born on our land, this is the russian avant-garde, i am convinced that these are the sources of inspiration for the belarusians, these are not so much academic practices, but rather folk crafts and folklore, you see, because, well , belarusians, in fact, yes, the majority of belarusian residents, back at the beginning of the 20th century,

these are residents of rural areas and small towns, where folklore and crafts developed, in particular, my mother, an artist... in textiles, she came from the village, yes, a post-war girl, she came to minsk already there in the late sixties, entered the theater and art institute, she watched how her mother, grandmothers, great-grandmothers were engaged in weaving, you know , they created carpets, uh, fathers, grandfathers, great-grandfathers, they were engaged in forging, wood carving, that ’s all, it’s honest, it's somewhere in the code ours, yes, belarusian, this is... folk crafts, folklore and crafts inspire us through already certain practices, efforts of comprehension, it seems to me that this is the whole artistic avant-garde, yes, this is what is called the russian avant-garde, yes this is a phenomenon of world significance, but there is an icon in russian culture, but this is also a very

interesting phenomenon, just like the russian avant-garde is also an interesting phenomenon, it happens somewhere , the russian avant-garde, these are the kind of practitioners who are not academic, but practitioners - folklore, crafts, folk are inspired by this soul or spirit of the people, and we can say that your non-warehouse sculpture, which is located in the polotsk national historical and cultural museum reserve, fits into this concept, which is more organic for belarusians - this is ours national culture, which is developing into an artistic avant-garde, and of course, well, in general, here are my sculptural works, partly this is the education received, again thanks to the fact that we have preserved a school that did not arise on its own, there were people who founded it, it is passed on from generation to generation, preserved, you know, including a lot, well, the state does it, for example, if it weren’t for the state, in my opinion, it ’s generally artistic the process would have been overwhelming for me, excuse me, because the state supports it, again for museum collections, here is a general store, yes,

which was purchased for museum collections, it is purchased from budget funds, and thus they are replenished, preserved, developing, museum. funds of belarusian art, that is, art that was created before me, is being created now, but again, this is the reason why i do it , because we didn’t just come down from the trees yesterday or fly in from nowhere, we live here, we are here grew up, my ancestors live here, lived for generations, and i’m a belarusian, so i ask myself, some kind of inspiration comes to me. yes, i read about something, i think, i reason, here are the origins, yes , here are my origins, the origins of my creativity lie it’s precisely in my genetic roots, and for me it’s completely natural, to transform these folk practices, folklore, into this type of art , which in its time, well, in our history,

history should not be forgotten, this is our history, this is russian avant-garde, you see, the vitebsk school, and i find a response, i resonate with this and i am very...’ i relate to this, so well , it arises, it is successful, if you like, again there are victories in numerous chinese competitions, your famous sculptures, yes in chinese cities, fuzhou, kunming, changchun, have you received any offers to work abroad, maybe even stay there? at one time, yes, my chinese colleagues offered me to teach at an academy in one large chinese city, but then there was such an overlap, we worked... with leonid levin, this is a famous, well-known belarusian architect, in general a person who plays a certain role in my destiny, in my life, i can call him partly my teacher. so then we created a memorial dedicated to the children of the great patriotic war, red

coast, this is the gomel region, zhelobinsky district, this was exactly the year 2007, in my opinion or the sixth, there was this offer to go teach, and i couldn’t, and then we returned, but there were difficulties at the academy, because well, preparation for english, yes, i’m not even talking about russian , well, the students left much to be desired, they started teaching, well, misunderstandings began, in general this program was curtailed, that’s the story, there were also offers to go work there and so on, but overall i i feel good here in belarus, i have a good workshop, i work, you know, i’m here, i’m working, i’m just working, they sometimes say why petrul does it there, please, so do you, what ’s stopping you, and you do it , well, everyone does it, so i do it, it’s natural that i... do something that i would like if i didn’t do anything, why? do you believe that you and your colleagues can be replaced by neural networks? and this is

a difficult question, why? because neurosis is, so to speak, codependent, here we are recently conducted an experiment and asked questions to the neural network, a lot in neural networks depends on who communicates with the neural network, on the intelligence of the person, the intelligence of the neural network depends, so today neural networks are not... just an application, a prosthesis for the one who uses it. maxim, well, you have already mentioned the krasny bereg memorial complex , in addition, you are the author of the composition a broken hearth on a dry street in minsk, created in memory of the minsk ghetto, the victory fountain in the capital’s victory park, co-author of the trosinets memorial complex. what is patriotism for you? here you go we have already started talking like this, about roots, about ancestors, yes, look. in 2004, i met an outstanding belarusian architect, a belarusian soviet architect, leonid levin, leonid mendalyevich levin, who

initiated me not just as a spectator, but also as a person who has some kind of genetic memory, introduced me to real practices creation and memorialization, so to speak, in the accumulation of a memory bank, through architecture, art, the creation of memorials, why is this important, because you understand, we there is, again, i said that we did not come down from the trees, or 3 days ago, not from outer space, we have a history, our own history, and it is important to remember those people who lived here before us, who loved, were friends, and so on further, we have our own traditions, they created here, of course, of course, and memorials are also our history, here are the soldiers who passed through belarus, who took away, created dramas, tragedies here, you know, here... every fourth, yes, then every third during the great patriotic war, you understand, no

such a family, probably, which would not have been affected by the great patriotic war, i have both grandfathers, both fought, and my grandfathers, you know, that’s all, so how to treat it, this is part of my family history, how to treat it, as a part family history, if there is an opportunity, to do something good, useful, to create a memorial, i’m not just happy, well, i even consider it some kind of duty. human, simply because i am belarusian, because my grandfathers and great-grandfathers are belarusians, this is our history, and the fact that leonid midalevich invited me to take part in an interesting project, you know, i wanted to meet him, and so fate worked out that we met at one of the competitions, you know, and he stood up like this and said: yes, let’s win the competition for this young man we'll give it back, everyone is like lenya, what are you doing? no, what’s your name, i say, maxim, i’m leonid levin, here’s my phone number, he gives me a business card and says call me. i want to work with you, this is recognition and i called, and he turned out to be the most interesting person, so

tactful and soft, on the one hand, on the other, such a firm, convinced man, you know, what a rock, i’m glad that such an outstanding person came into my life, and of course, influenced me, i often remember how we drive in the autumn road, so he tells me, because you know, the difference between us is 40, a little over years, so he talks about his feelings, these ages, they share some such things, very personal, and i, when i’m driving along now this road to the red bank, i remember it, even somewhere there is such nostalgia, you know, for to leonid mendalevich, i love him honestly, maxim, should a creator always be a patriot, well, look, patriotism is a constructive creative activity for the benefit of the place where you were born. country, city, small homeland, therefore any creative person who proceeds from the fact that he creates based on faith and inspiration

is a patriot of his country. and only brings goodness, love and harmony into the world into which he came, into the place in which he was born, into the place he loves. let's go now let's take a short break, after a short break we will return to this studio again, for now subscribe to our telegram channel, say don't be silent, look for all our episodes on the youtube channel belarus 1. the program say don't be silent is on air again , belarusian sculptor designer maxim petrul is our guest. maxim, with what feelings are you now observing what is happening in the middle east, in addition to the fact that people are dying, everyone is sorry, on both sides, but the historical and cultural heritage and architecture are not being destroyed. yes, it's terrible, any conflict

- this is a terrible, destructive form, for no one. well, no, there will never be any conflict, this is my deep conviction, it’s better to avoid, you know, than to enter, because devastation, you know, well, tear down, don’t build , let’s tear it down, i remember how the monuments were demolished, in this movement blacks life matter, uh-huh, like some kind of medieval savagery, listen, in ukraine the same thing is happening , why can it be , what is very correct here in this sense, what has been preserved, we have a very cool example, an example again synthesis of art architecture, this is manizer and langbard, the government house, a wonderful example, which recently celebrated its ninetieth anniversary, absolutely, you know , yes, this is our cultural heritage, we must treat it with care, this is our history, our past, people created, they put their soul into it, they tried, it’s a very good example of how this can be torn down, but when conflicts begin,

that’s it, ruins, devastation, trouble, pain, don’t let it. god, what are you doing? let's see, on your website, you have a section for works, so just show the scale of your works, how many there are, yes, there are, and there is an objects section, of course, these are not all your works, we understand, but the question is, what is the work dearest to your heart, maybe not even to your heart, it it may be dear to your heart, it may be dear in cost, or it may be dear in terms of the time spent on its creation, you know, every work is a special story for me, some kind of my personal experience, every time, here i am i already told you that when i look at this work in the subway, i come back there, maybe even further, but with everyone , i interact with them, and not only do they take me there, you know, they take

these works around the world, they invite me to some competitions, thanks to the works? i’m establishing some kind of communication, let’s say, i made friends there , i communicate, communicated with the director of the national art museum of the people’s republic of china, this is my colleague, the sculptor wuvoishan, who donated the sculpture that stands here to the national art museum, you can have it look, and here you go when we met him in the ninth year, then we met in the eleventh year, and well, the process of interaction began , thanks to which, not because i’m just so handsome, you know, i made some sculptures that he likes, and he he makes some of his own sculptures, which i like, and he came to art from guohua, this is traditional chinese painting, here are scrolls, and ink, so he transformed his skills as a guohua artist, here is a traditional chinese woman, he turned into a sculptor, most interesting person, that's it thanks to the fact that i make sculpture, he does it, we met, we could

talk, and so on with other artists, in general, my works take me around the world, yeah, art unites, of course, like culture, it’s such a form, you see, which should unite people, it’s strange when culture begins to separate people, well, again, people are different, as we see , yes, culture is still a means of unification, some kind of constructive activity, knowledge of the world, you see, so we came to this world, well, we’re not here for long... everything is so fast, and why do we need to unite to try to understand it, to make some contribution, to somehow, well , somehow live so that we feel good, it’s all so fast, i’m already watching on myself, yes, i’m already sporting a beard, but only recently i was little, and i was like 50 cm when i was born, and so on, and everything is fast,

this time flies quickly, i recently made a sculpture of time. again, this is what time is, and this moment is such a knot, yes, which connects two spheres, two hemispheres, here is the past and the future, and we are constantly in this moment, and we want to... grab it, now it slips away like water through our fingers, this is what was now the past, and what would you like to grab in the moment? well, stop this time, yes, because we are all rushing , as kazimir maleevich said, yes, we are rushing with great speed in this black abyss, with enormous speed that we cannot even imagine and comprehend with our minds, you see, and where are we - in the universe, little people, you know, there is a huge universe, and we want to know. reveal, find out what we are, who we are, where we are, why we are, it’s so curious, so exciting, it’s just my imagination that comes into my mind , it’s incredible, time cannot be stopped, unfortunately,

the time of our program is also coming to an end, not even half the questions we managed to ask, so maxim, we take your word that you will come to us again and again, talk about your work, we of course wish you success, let the armchair critics criticize less, and let’s hope that the leaves on the pear tree will remain intact, good luck, success you, yes, thank you very much, thank you for inviting me, i was happy to come and talk, thank you for the very pleasant questions, interesting conversation, good mood, you gave me very wonderful emotions, thank you very much, and thank you, tatyana sherbina, svetlana smolonskaya, we say goodbye to you, until the next broadcast, goodbye , goodbye, and now maxim petrul says, dear friends, i... wish you a good mood, as the person with whom i was friends, dr. alexander sergeevich tereshchenko, said, a good mood is the key to all the best in your life.

maxim, this picture was drawn by a famous artist, artificial intelligence, and based on our logo, the program don’t be silent, this is how he saw it in the style of the renaissance, and i will ask you to leave an autograph in our program. yes, that's what i feel. leonardo dainci’s sfumat is somewhere out there like something in the future, i’ll be happy to leave you an autograph.

this is news at noon on belarus 1 and belarus 24, olga medved is with you, hello, watch the episodes. gdp growth wage level fees, ministry of finance on budget execution in 2023 council of ministers. the unemployment rate in estonia has skyrocketed, driven by massive layoffs in many sectors of the economy. 98