[000:00:00;00] for 10 days, everything was hidden, packed, carried, because i date, tactical medicine courses were held within the walls of the museum, just in the same room where the exhibition was opened on february 23, they risked leaving the paintings of pavel kovach, i want at least some art to be, and then, after 20 days, i think the museum should also be connected. at first , the museum resumed cultural events, the goal was to support people. both local and residents of temporarily occupied or front-line territories who found shelter here, we introduced such a project arttbatal, list we had artists, we called there in advance, they said, good afternoon, you sing there, and we don’t want to hold a master class on singing, you dance there, you don’t want it, you play, whatever happened, the works were written, i.e. 150 arttbatalni, we had it in a row, every

day at three o’clock, a lot of people gathered here, and again the same story, they came half-dead, half-alive, and left completely different, that is, such psycho-emotional art therapy, and such anti-stress, we began to accept refugees, we have already accepted 700 to date refugees, there are people living here now, there were many artists among the immigrants, so absolutely spontaneously an art residency was organized on the basis of the museum, we did not invite anyone to the residency, it just happened that artists call me and say, can we come, we you have to live somewhere, i say, you can, come, in the luts hotel near the museum of the corsicans , people from kyiv, kharkiv, horlivka, dnipro lived. in these conditions, they had not only a safe space, but also the opportunity to continue creating. artists react to the war in different ways, but most adult artists, that's what i 've seen, they don't really want to draw,

i liked the words. otminina, he said: i painted the whole war before the war, and i will not paint the war during the war, i may paint the war again someday, he left for kharkiv when the war began, and then he left kharkiv when the global war began, he lived in us, was here for several months. by the way, i saw from him here for one of the first times how important it is for an artist to create, he came and said: give me a piece of canvas, i have to to draw, because i will die, something, that is, it is like a physiological need, you see, a miner crucified there, which is jesus christ, that is, a very symbolic work, interesting, however, not all artists avoid the theme

of war in their work, there are those who are ready to understand this the topic is now, now... we have an exhibition, he paints the subway, he lived in the subway when they were bombed, and we have an exhibition about this subway, it hurts him, let's go further to the works of vladyslav, this object is the backpack with which vladyslav spent several days in the kyiv metro, this blanket with which he also covered himself, and these were the only things he was able to take with him when he evacuated, and directly related to what a person in the subway could see. here , let's say such a transformation of the metro itself as such, because before it was a place of some bustle, and then it transformed into something completely different, transformed into a run to peace. most of the paintings of vladyslav ryabyashtan's project, metro as a shelter, were created already in lyutka, when the artist was here in evacuation.

another father, petro antip, was forced to temporarily leave his workshop in 2014 occupied horlivka. currently, he also works in the museum of the corsican family. i like order, for me it is very, very important that the workshop should be perfectly clean. it's a fairy tale that artists must be ugly, lowly, hungry, by the way, this is a russian myth, it's accepted in russia, everywhere in the world. well, artists are very, very packed, so they invented a fairy tale that the artist must be a soviet one, because in russia the artist’s ego was thought of by the party there or there, or putin thinks for him, or the tsar there, they thought for him there, but only they learned a trade there. petro antip knows first hand what the russian world is and what russian artists are taught, he himself studied in russia, everyone went to study in penza, and i went for something,

i didn't know what was in lviv. that there is an art school in kyiv, as there is in odesa, i am very pleased that i entered russia, because my parents told me that russia is bad, not very good, communists are it. sorry, but in the yard it was a completely different situation, in the yard we all lived there without politics, so you can say, for childhood, so that there is russia, that is ukraine, well, everyone talked to shurzhik, the ukrainian school was closed, only in russia they told me that i was ukrainian, specifically, what my parents said, there, what my grandfather said, there, babushka, well, you understand, there, well, about the famine , they all said such things there, in russia it was clear, he began to fight that i was ukrainian when i was studying. there we united with the ukrainians there, then i went to struganovka in moscow, they looked at my work, and there academician chasovytin said: well, you will be promoted, join the artist’s union, live in moscow,

but the most important thing is that you don't go to ukraine, because you are a fool without flight, this phrase solved everything, i immediately turned around, went to ukraine, got involved in the environment of ukrainian artists and discovered ukrainian art for myself, i think, you go, i think, there are great artists here, i met dychenko, i met balkun, i completely decided not to go anywhere from ukraine, then i went to lviv, looked, i realized that ukrainian painting and sculpture is much more interesting than russian, when i participated in all-union exhibitions, at young people, we had our own hall , there was a ukrainian one, there was an armenian one, there the russians had their own, so the ukrainians were the most powerful, later... the recognized talent of peter himself. he had numerous personal exhibitions in ukraine and other european countries. his paintings and sculptures are also widely represented in a number of state and private collections. monuments and art objects authored by petro

antip adorn the streets of many ukrainian cities. for example, in zaporizhzhia, it was created according to his project. petro antip no longer lived in his native donetsk region. the reason for moving became russian aggression. i knew what would happen. the war, i gave many interviews on this topic back in 10-11-12, and i knew that they would come to me, so i met with a fisherman, with a landowner, before he was killed, my older boy threw with a fisherman, by the way, they took down the russian flag there three times, by the way, here are these myths about donetsk, that in donetsk, so you can say, that the kherson people were met with bread and salt, but they met bread and salt, you see. since then, petro came to the east of ukraine only to work. on the eve of a full-scale invasion, he worked on projects in mariupol and bakhmut, not even suspecting that he would not be able to complete them. but

with perhaps the greatest regret, he now recalls his workshop in horlivka, which he calls the best in ukraine. i had the coolest workshop in ukraine, the coolest, there were not all the conditions there, there was a kindergarten, i bought it, i made a pond myself , i had 200 hectares of land, i had a park, i had sculptures, people came to me from lviv, from kyiv, from kharkov, we worked, damn it, everything was fine with me, i did exhibitions only in kyiv, everything one time i flew to paris, the airport is nearby, but there was a little different life there, called cosmogony, what is cosmogony, this is where we started, who we are, our... in that world and what will happen to us, we are this work we do, as a philosophical treatise, we want to give our vision, the essence of the work is that there are five to seven parts, the first part is where it all started, that we are different views of different

people, different religions, different peoples, different scientists give this question, the whole creation of man, the creation of culture, and there creation novosphere and the future, and a round goes to a discussion on the picture in plastic forms between, different theories, between different myths, there somewhere already the leitmotif will be our theory about all this, and we also want to discuss the topic when the idea of ​​cosmogony came to me, the first person i thought about, what this project can do, this picture is being written, it is based on stories, on myths. on legends and myths here , not only ukrainian ones, well, european ones, here there are also myths of india, china, myths of africa will be depicted. cosmogony is not only large-scale

because of the size of the work, but also because of the depth of the issues that the artist tries to outline. he himself is about, for me, the most important thing is that the whole composition, the whole painting looks as a whole, and already there in the details. there are already many latin expressions there, there are many signs of tripoli signs, there will be christian signs, muslim signs, buddhist signs, there religions, there всё это всё будет сладиваться made humanity in this plan, here is the question of what the future will be, and the purpose of the picture, so to speak, what will it be the future of humanity, here we think, what will be the future and everything will be laid out, well, on one canvas, and it will be filled, filled, more work will be added, added and filled, here i think , we worked a lot, we planned to paint it for a year and a half, i think it will be a little more, because

ego must be filled with these myths, all of them. i want this painting, and not only this painting, to make this breakthrough, and 100 other very cool ukrainian artists. i don't know what task is ahead of me, i know what task i have, i want to make ukraine and promote ukrainian art in the world. in such is the future of ukrainian. believes petro antip, and not only believes, but also tirelessly works on cosmogony, plunging into the past for the sake of the future, because not knowing the history to go back, ukrainians need courage. pages of our history, which until recently were considered the blackest, are explored by the lviv territory of terror museum. the museum of the territory of terror is located on the territory of the former lviv ghetto and remand prison number 25, to the attention of visitors, our main

exposition is in barrack number one and barrack number two, before the war we had a space for discussion of the presentation, and now we return to this format. the jewish ghetto in lviv was the third largest in nazi-occupied europe. when the communists regained control of the area, they set up a prison here. it was one of the largest soviet prisons of this type on the territory of modern ukraine. the scale of the crimes that took place here is difficult to comprehend, we decided to create a museum that would show the fate of people, ordinary ordinary people, through the prism of the eyes of these people, we had to show how the nazi communist regimes affected the fate of ordinary ordinary people, ordinary not only ukrainians, but those who inhabited western ukraine, jews in particular, people-centeredness, attention above all to the ordinary. people and their fate destroyed by terror. all this makes the museum

unique. this approach helps to rethink with greater empathy all the pain and sorrow that totalitarian regimes bring. when we have these memories, we can tell about the war as it is, but not as propaganda paints it, and also, precisely because of oral stories we can. also present the experience of ukraine in the second world war. now , once again, we go to international conferences and see that everyone has forgotten about it, because it is believed that there is the soviet union, there is russia and that's all, there is no one else, right? when we work with human disasters, we are dealing with the fact that a totalitarian regime cleans up absolutely all traces. plus, as we can see, the totalitarian regime is successfully rewriting history. and we are now feeling

the consequences, as far as the story of a great victory is concerned was rewritten by the totalitarian soviet union, then everything we see now, if the lessons of history are not learned, they repeat themselves, so in the 21st century, ukrainians again faced an aggressive invasion of their territory, well, they started by taping the windows to a cross, then already little by little... we organized work in new conditions, well, and first of all, we threw all our efforts into the actual foundation work is in its essence, it is a collection, a collection, a part, everything was uploaded online from the very first days, these are some valuable documents, or some our funds, which are digitized, well, little by little, everything moved, we also made a letter, such sheets, check sheets, who lives where, is anyone ready to receive someone in evacuation,

that is, we started working and were in contact all the time, because lviv from the first days of the war, everyone called, that is, absolutely everyone i knew from the museum and non-museum spheres called me, and international partners also called us first, because everyone else was either on the road or under fire, unfortunately . the terror territory team quickly realized that theirs the institution should become a reliable rear and support ... those who are in greater danger due to proximity to hostilities. therefore , the museum began to help not only people, but also entire institutions for the sake of preserving historical memory. on march 3, the museum crisis center was created, an initiative that actually from march 3 until now deals with helping museum workers, this is the provision of individual financial support, which they can already decide for themselves, whether they carry out a personal evacuation, or whether they give

money for gasoline to evacuate the collection help, whether they remain under occupation or under fire somewhere, but they have this extra money, that's why we are doing this, unfortunately there are currently no regions that would not be affected by the war, but we always prioritize such hot spots, an unexpected direction of our activity, which began during the war, is the rescue of other people's collections, literally in the first days after the war, it was the beginning of march, probably two were exhibited in the dnipro and in kyiv. urgently decided to evacuate these works, the collection arrived in one batch and the second batch, it was such a a challenge of its own, because there are not many people, and the collection is large, several hundred works of fine art , how could the museum staff not allow these paintings, these works

of fine art to be stored in any way, for this they equipped this part of the room, it has more of a museum feel decent look, in principle, we even plan to make such peculiar open funds from this part of the funds for visitors, this place is very convenient for the kyiv gallery from the point of view of logistics, since very often we, as their partners, now participate in moving these works during the current life of the museum in ukraine... depends on the territorial location, the further from russia, the better, because those museums that are located closer to the border with russia are either occupied, or destroyed, or evacuated, and there it is impossible , well, to continue such a routine, normal museum life, the further from the border, the more

museums try, for example, there in the empty walls to organize some exhibitions of humanitarian collections, there are evacuated teams. you can do something together, museums that have been destroyed, for example, like the okhtyr museum, they are now starting to think about reconstruction, reconstruction, that is, where the bomb hit, they are returning to these economic issues and the reconstruction of museums, plus it is worth understanding that in many museums of the team, someone left, someone died, god forbid, someone is under occupation, that is it also depends on how well your base , which you had under your feet until 24, was preserved, and what you should do will depend on this, and of course, the further from russia, the better. the further from russia, the safer. all ukrainians felt this simple truth, and although now, due to enemy missiles and drones , there is no safe place in our country, the west

of the country suffers from shelling much less than the front-line territories. the museum of the territory of terror, in the first days of the war, emerger himself was involved. on recording, as it were, what has been done, preserving what has been done, and we actually devoted the whole of last year to preserving our achievements, that is, if we have any digitized exhibits, we uploaded them online, if something was not digitized, we had the project of digitalization of the museum, digitization, that is, to have this copy museum in a flash drive, so that if our museum is scanned, that is, our two barracks, towers, wagon, tracks, how about from the point of view of the building, that is , we have such a version of our museum, inside the exposition, the most valuable exhibits are also scanned, and all this is now online, and for example, we also took our audiog, integrated it in ukrainian and english, that is, in principle, you can now watch the territory

of terror from any part of the world, and the skairon team helped with the digitization of the museum collection, this organization even before the invasion scanned various objects objects of cultural heritage, in particular, museum exhibits. we are working on capturing all the sights digitally as much as possible. our scans, in the worst situations, if something happens, as was the case with warsaw, that it was broken, there are point clouds being restored. in 2019 , the notre-dame cathedral burned down in paris. but back in 2015, it was scanned by the same scanner, and restoration work is already being carried out on the basis of these materials. we realized after the first flights around lviv that we can continue to scan ours

lviv architecture and preserve it at least in the figure of ukrainian culture and architecture for more than six years, and now continues this work with even greater zeal, because now our cultural heritage is particularly vulnerable, one russian missile can completely destroy a museum or any other institution or monument yatka, and because of the russian terrorist act, the nakhot... gez flooded the entire cities in the lower reaches of the dnipro. thus , the local cultural assets, such as the house museum of polina raykov oleshkah, were fundamentally damaged. indeed therefore, the team of the territory of terror museum is already recording the russian ones crimes of this war. during the past year, we managed to get in touch with the soldiers of our armed forces and they gave us a number of objects, a number of exhibits, to the museum, these are things that our soldiers captured during the successful

counter-offensive to break the victory, which even now testifies to the victories of our armed forces, so we have hope, in the future there will be such a clear, expressive evidence of our victory, we are fighting not only at the front, but there is also a war of ideologies, here are such leaflets , russians give lies, among our soldiers, for example, russians in military service they shoot those who surrender and so on, here is a kind of highlight of our collection of victory, these are children's letters and drawings that were sent to the front in an organized manner to russian soldiers, for example, a letter from a soldier of the utochnik class b of the krasnodar territory. yegory batashov writes: thank you for your courage and

courage and love for your family, for not allowing the enemy to enter the territory of russia. may god give you health, strength and return home alive and unharmed. we are proud and happy for you at such a time. thank you for such exploits on the border of the russian federation, что do not give the enemy will penetrate our territory, may god grant you to return to your relatives, do not cry there, i also hope that my writing will give you confidence, strength and power, do not lag behind your friends, kill more enemies, i want to become like you, strong confident and courageous, okay, it's time for me bye. i was flying, flying, and a cough stopped me, a cough is a symptom

of a respiratory disease, so i took medicine and saved money. espresso celebrates its tenth anniversary in 2023. we are proud to present our new ethereal look. stay tuned for an update espresso , because despite everything, we remain in touch, the information hour on the espresso tv channel continues, our viewers, to whom we are infinitely grateful for their trust, are in touch with you, i congratulate you, dear tv viewers, this is a great program on the espresso tv channel. espresso is 10 years old, we are developing and improving. well , we go further and talk about magnetic vortices. we are becoming even more dynamic, even more comfortable. the information day of the tv channel is in full swing. we are modern design and sound, even more interesting programs and original projects. the occupying garrison was surrounded, cut off from the main forces and destroyed. they will

try, there is a war going on, and not only for territories, it is also a war for minds. we are engaged in propaganda. russia is throwing millions of petrodollars into turning ukrainians into little russians. ukraine will become we are countering the information attacks of the russians from the project. chronicles of the information war with olga ley. on monday, tuesday, thursday at 17:15 on the espresso channel. let's talk about the most important thing. serhii joins our broadcast for two hours to learn about the war izgurets, military results of the day, and how the world lives, what is there in the world, will be told by yuriy fizel. for two hours, to keep up with economic news, i will give the floor to oleksandr morchivka, he will talk about the economy during the war and sports news. gen pastukhov is ready to talk about sports. two hours in the company of favorite presenters. lina chisheni is ready to talk about culture during the war.

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