and each of them had their own, their own teaching method, it was the period of this ukrainization and skrypnyk's policy, so thanks to him everything is like that, it is specifically 1924, 1930, we have clear dates of this period, when the rector was ivan vrona, he was actually appointed a violinist there and actually even agreed on the appointment of malevich vrona with skrypnyk, as we know from the documents, that is, there were direct direct connections and that's it. this story, which is bright, short, but bright these six years, it ends in in the 1930s, when this wave of repressions against avant-garde art from moscow reached kyiv, and because these persecutions of avant-garde artists first began in russia, and from the mid-20s, after lenin died, stalin came to power when revolutionary art was no longer needed, because the soviet union turned into an empire very quickly, and obviously the totalitarian... regime

does not need revolutionary art, it is dangerous for it. now we will talk about repression, but i understand correctly, you are now talking about what here are these repressions, which were even then in the days of stalinism, the consequence and inertia of this attitude towards avant-gardeism is the oblivion in the modern kyiv art academy, without a doubt, that is, this is the policy of the 1930s, which was introduced under stalin, it is still ours .. . has forgetfulness and no desire to have anything to do with malevich at all. in my experience, yes, since the mid-10s, we have been trying to convince the academy that malevich is worth at least hanging his portrait on the walls next to other professors, and i know personally how many times i have heard from rectors, deputy rectors and so on, why is it that he is not a socialist realist, i.e. like that, and actually, well, that is, they are talking about the fact that what is taught... in the academy, that canon

is socialist realist, which still seems to be nowhere i didn’t understand what exactly with this abracadabra , which they don’t understand, for them malevich remains an incomprehensible abracadabra, actually they disown it and don’t want to have anything in common with it yes, that is why it is still hostile, it is quite foreign at the institute, i can't say what if in fact, there is not a single teacher there who understands this, and it is worth mentioning that in our film... there is also dmytro antonyuk, he is an architecture teacher, and actually he reconstructed this presence of malevich in his office with his own efforts, he even created a myth around it, that it was precisely malevich's office, although it is not clear whether it is, but he recreated the exhibition there and actually this is his personal effort, yes, because he also had this moment when his foreign colleague from sweden, it seems, came there , and she shamed him with what she knew about what malevich taught in kyiv. he, teaching in

the same walls, did not know anything about it, had never heard of it, but actually it was his personal experience that was so traumatic that led to the fact that he wanted to return this malevich, and that's actually what we tried to do with him to somehow legitimize it within these walls, but unfortunately, it is still not like that, and malevich is still such an alien element in the academy. the most influential ukrainian artist is, as it were, a stranger. for the main educational and artistic center in kyiv. i beat you, you they talked about repression, regarding malevich. they started when, because he initially identified himself with the revolution, right? he also called himself a revolutionary. when did the persecution begin? actually, well, that is, the revolution, as such , is not only political.

these revolutionary ideas were and are happening, they were first of all formed at the beginning of the century in the cultural environment, because people understood that the old empires must die, and in fact artists, in particular avant-garde artists, tried to build themselves this, this future without empires, where people are all free, where everyone has the same opportunities, can equally realize themselves, and in fact these are beautiful ideas about a bright future. they were formed in the environment of the avant-garde even before the 14th year, that is, in fact, the revolution was not the first, but the art was the first, yes, yes, and when this political wave actually appeared , yes bolshevism, it, they realized that they this support is needed, and something that will visualize their idea of ​​this change for the broad masses, who were often even illiterate, and some bright insults, and therefore the bolsheviks adopted the vanguard. on art, they

used it because it illustrated this radicalism and changes, but it changed very quickly, despite the fact that the artists themselves, they very often did not... did not identify themselves with bolshevism. malevich, in fact , according to his political preferences , he was more of an anarchist, and by the way, even before the 19th year, if i am not mistaken, he was published in the newspaper as an anarchist, that is, this also speaks of his identification and identification in a political sense . then, obviously, when anarchism, if, yes, was defeated, there was a certain reality to which he adapted, so he cooperated with the bolshevik regime, he even had a rather successful career, he... for example, carried out a reform of museums, he proposed to create a network of modern museums of art in the soviet union, which was based on modern art, they bought works from artists and distributed them to all these museums in the soviet union, that is, in principle, the network of museums that we know, yes, the soviet

one, if this was malevich's idea, he as a manager, for example yes, the cultural one invented and implemented it, but malevich, if you read his memoirs and diaries carefully, he is very close to the bolsheviks. but he was never, if anything, a supporter of these ideas, although he had very good connections and some very high-ranking bolsheviks there periodically interceded for him when he was arrested there or wanted to be released somewhere or was not released from outside the soviet union, but in fact it all ended very tragically for the vanguard of avant-garde art as a whole, and for specific people, for malevich, because when the government changes in the 20s, they start a race... to the vanguard, first it starts with the then capital, yes, leningrad or petrograd, they actually close the institute of artistic culture, which malevich headed for three years, his they accuse him of all mortal and non-mortal sins, and in fact cut off his opportunities for any

activity, and then kyiv appears in his life, like this is the last hope, he is invited to kyiv, given complete freedom, and here, in fact, skrypnyk is still had the opportunity some time. to restrain this wave, yes , which came from russia, a wave of repression, a wave of persecution, and for a few years this atmosphere of freedom remained here, malevich actually planned to move to kyiv, move his students, his family, but this opportunity closed in 30 this wave of repressions arrived in the 19th year, vrona was released from the institute, all these avant-garde preferences were banned, and already in kyiv, although kyiv was not even then the capital, but already in kyiv. that's when all these bans came, malevich was arrested while he was under arrest, he was dismissed from the institute , everything that was in his office was thrown away, he had his own office at the institute, and actually this story ended very sadly, please tell me, but he went to berlin before that, he

participated in the to the berlin exhibition , he traveled through poland, reached berlin, because he was there for several months, and suddenly the soviet authorities... ordered him to return, it was clear to him, for which, i will tell you now, what i base it on, so that that it was clear to malevich what would happen to him next, and why is he being forced to return, because there is his will from the year 27, and as far as i understand, he was going to berlin and he took some things out, i understand that some texts, so his own, some works to preserve, and he... . leaves such a kind of will in berlin - this is the 27th year and in the 27th year it is and he left this text in berlin, in the event of my death, imagine, in the event of my death or indefinite imprisonment, and if the owner of these manuscripts wishes to

publish them, then for this they need to be studied and then translated into another language, because being at one time under the revolutionary influence there may be strong contradictions with this protection. the form of art protection that i have now. i mean, what does it mean? it means that first of all, he understands that he's either going to be killed or he's going to be imprisoned, and he says that he's under, he's under pressure, i understand correctly why he, why he didn't stay in berlin, when he, when he was called, well, actually, malevich, when he went on this trip, he had a plan to somehow stay in europe. this trip was originally planned as a trip to warsaw, berlin and paris, paris was his dream, like every artist, modernist, but it was not destined. malevich came to warsaw and there he applied for a french visa. in this questionnaire, he identified himself as a pole. although he always

wrote about himself as a ukrainian. already at that moment, he wrote about himself as a ukrainian, because after the soviet-polish war of 21, and even then, being a pole was dangerous in the soviet union. i suspect that this became known to the special services, so when he came to berlin, he just opened his exhibition in berlin, and literally the next day, a telegram arrived in which... there was a demand to return to the soviet union in 24 hours, he was only in berlin for a few days, that's right, and well, that is, he had time to come unpack the exhibition and hang it there , he also went to the bauhaus for a few days, that is he was in germany for a short time, literally there for two weeks, and so he was forced to return literally the day after the opening of the exhibition , that is, he did not manage to stay in the west, so he did not manage to get a visa as a pole in order to .. to go to france to be there to get caught, the poles were actually also not completely sure whether he did not cooperate with

the bolshevik regime and was not a spy, that is , he got, let's say, between two swords and, between fire and sword, yes, that is, between two such systems, and moreover, there is a suspicion that in this, in this telegram, there were threats to his loved ones, because he had a daughter, a mother, a wife, his students, who... certainly, well, could be victims of this blackmail. and he returns to the soviet union, he is arrested, for what? there are memories of the family that when he returned to moscow, was immediately arrested and kept in lubyanka for several days. this is an unreliable, that is, unconfirmed archival history, because firstly, russia has never opened its archives, especially the archives of its special services, so it is impossible to verify this. but now it is based only on the memories of his family, maybe, and maybe he

was actually under this arrest for a few days, but in fact, what such a significant arrest that was in his life, it happened exactly in the 30th year, that is, after 2.5 years after returning from germany, and the actual reason for this rest was a trip abroad, because he was accused of espionage in favor of germany, he had some stamps left from that trip, which were found in his... rest, so he was accused of espionage in favor of germany, in espionage. and here is this country, which did this, actually broke a man's fate, because he will die literally in 5 years from cancer, but in principle, obviously, surviving also in some way damaged his health. and here is this country after all, he says, when, when he wins world... knowledge and world fame, she says: this is a russian artist, and everywhere malevich

is written as russian, this is my introduction to that, to malevich's ukrainianness. tell me, please, what arguments do we have that this is a person of ukrainian cultural identity? well, we can talk about a number of, let's say, things that malevya defined. his personality, his views, his attitude to art, in addition to the very fact of his birth in kyiv, moreover, in kyiv on zhilyanska street, this is important, because it was the environment of the old community , the tragomanovs and kosachis lived across the street from him, that is, it was the environment of people who actually dreamed of ukraine, and actually lived this ukrainianness, ukrainian culture, and even, despite the fact that it was a polish family, yes, if from ukrainianized such poles. of the impoverished nobility, it is obvious that there were connections, and it was all the same, if the environment that

mixed with each other, well, then the malevich family lived in the ukrainian villages until malevich was actually 18 years old, and this forever determined his attitude to life and generally some of his ideals in life, he writes in his autobiography at the end of his life that he admires the whole life of the peasants, he likes their life, their houses, their clothes, their their... their food, their art and in general ukrainian peasant women were my first art teachers, this is where he sees the picture for the first time, it was a painted shop window, but he describes it like this, that it was a girl sitting on a donkey, peeling potatoes, and he was struck by how this is this artist's skill, it was so realistic, yes, that you could get confused and think that it was a real one a living girl, and it affects him for the rest of his life, yes, that is, he remembers this image all his life. in kyiv, his mother buys him his first set of professional paints, in kyiv he enters

the kyiv drawing school of mykola murashka, in kyiv he enters the workshop of the professional artist mykola pemonenko for the first time, to whom he will later appeal in his works, and actually the central theme of his such well , let's say, not necessarily realistic, but object painting, these are two peasant cycles, these are the 10s and then the end of the 20s. years, that is, a peasant for him, that the ukrainian peasant , whom he saw in his childhood, is a certain, well, the main protagonist of his paintings, and, that is, he constantly turns to this theme, to it already matured already after suprematism in this so-called supernaturalist period of the late 20s, because this topic does not let him go, but he believes that it remains relevant for him, that paradise, that ideal that he sees for himself, he sees precisely in the village. the following is indisputable, that is, we are talking about those things now that shaped malevich, which

influenced him, then it is very important, to what extent malevich influenced the ukrainian context, the ukrainian language. and here it is very important for us these 20 years, when he returned to kyiv as an already established artist, and when he began to teach at the kyiv art institute, he actually reformatted education, because he was invited not only to teach, but also to give methodological such instructions, to help rebuild this system, because molevych, he was also a theoretician, and he built his own pedagogical system in art, so that is... he falls into this kyiv environment, he communicates with the new generation, he publishes a number of his latest articles to explain what the new generation is, the new generation was the main magazine in the 20s, probably in the entire soviet union, which was devoted to modern art, published it was published by mykhailo semenko, actually the leader of ukrainian futurism,

who, even as a young poet, knowingly, already knew about malevich's suprematism and dedicated... such a burden in decade, and in fact in the late 20s they are already communicating directly and semenko invites malevich to be published in a new generation, here in this second book, which i want to show today, yaryna tsymbel actually publishes for the first time the proof that malevich had direct connection with the new generation, here is malevich's letter to... poltoratskyi, in which malevich, for example, sends his greetings to semenkov, yes, that is, as it were, we, we are talking about a certain circle of friends , and, that is, friendly communication, some kind of such interaction, there is actually a connection here with lesya ukrainka, because malevich teaches at the institute together with svitozar drahomanov, svitozar drahomanov is a cousin of lesya ukrainka, he has a camera, he photographs

malevich's objects and things and objects and paintings, actually. there, at malevich's request, it is sent to certain magazines, yes, that is, this is an environment that communicates very closely, they have joint projects, they do something together, they dream of something there for the future, and, that is, this is a very important factor when malevich was very closely integrated into the ukrainian environment, again after all, his last personal exhibition during his lifetime took place in the kyiv art gallery in the 30th year, and it was so wildly successful there that it was extended for a month. and and and then if malevich hopes that these paintings will be sold and will remain here and in ukraine and for the ukrainians themselves, that is, there are a lot of themes that connect and leave malevich actually embedded in this context. and please tell me about this amazing artillery in the village of verbivka, where this artillery

managed, as i understand it, by alexander ekster. what kind of artillery was it and what did malevich have to do with it, yes, thank you for mentioning it, this is also a very important plot, in fact, if when malevich, yes, he did not live in ukraine, but this connection is still the same if it continued and continued, it is about arcil in the village of verbivka, verbivka was the estate of natalya davydova, natalya davydova was actually the wife of the son of the decembrist, and she herself was from the ancient cossack family of gudym levkovych, and it must be said that this... ancient the cossack family, it also has its own endurance and its own history in them, traditionally, this family was actually associated with the creation of textiles and various crafts, they had a workshop that was engaged in paintings even in the times of the hetmanship, not paintings, i apologize, embroidery even in the times of the hetmanship, and here is natalya davydova under

the wave such modern trends, as we would say, at that time. decides to open artil in his village and help the rural residents of this village to find their own tool for earning money, for the implementation of some creative business, it was fashionable then, many landowners created such artils, this cherkasy, sorry, yes, yes, this is now cherkasy, it is not far from smila, kamianka, these are beautiful places, i went there recently with research, and i highly advise everyone to go to... see these places, they incredible, and actually davydova herself is an artist, she is friends with oleksandra ekster, oleksandra ekster is another great figure of kyiv at this time, yes, because she... actually lived most of her life in kyiv and implemented her projects in kyiv, and here is oleksandra exter, she is the art director of this artila, she forms

in fact, this is the end of the concept, as we would say, of this startup, and she invites to the cooperation of various modern artists whom she knows from various cities of the soviet union even then, and from, even then, the russian empire, i apologize, because we are talking now about exactly the 15th year, yes, that is, still. in fact, when this russian empire is already tottering, but still clinging to the heap, and exter invites malevich, whom she also knows, and well, they communicate and meet at joint exhibitions, and malevich, creating his suprematism, first gives him as sketches for embroidery in the village of verbivka, that is, before showing it at the famous 010 exhibition in petrograd in december 2015. he gives these sketches probably somewhere at the end of summer or beginning of autumn, because the verbivka exhibition took place in october, that is, a few months later, and these peasant women in the village of verbivka

embroider supremacist pillows, scarves, some objects of simple use, yes, useful objects and decorate them with these abstract forms, that is, in fact, if these peasant women were the first, the first audience, the first spectators of suprematism, and they actually if they immediately start to interact with them, yes, if they reincarnate them in the form of embroideries, which become certain objects, objects, that is, this connection, yes, it actually has such a multifacetedness, yes, i sit all the time, listen to you and think , my god, what could it be, yes, if not, if it wasn't all destroyed, yes, if the culture developed amazingly, yes, yes, we can only guess, but in fact, these are absolutely incredible things, and the exhibition itself , willow, willow embroideries, she was super successful, she traveled she traveled through europe, even across the ocean , and all these things were wildly successful, that is

, it is the year 915 - this is exactly what is called a jump, his jump into objectlessness, i don't know who it belongs to, or i would have seen it for the first time myself in jean claude marquide, i don't know whose it is, whose saying it is, what it meant to him, how it is, how he under... entered into it, i, i know that he did all this in secret, yes, because he i did not want to share this creative method at first, because there was a lot of competition in the environment, yes, well, you have to understand what time it was, it was such a window of opportunity when artists could create something completely new in art, and, that is, it was a moment when realism as a single method had already outlived its usefulness, because new ones appeared. media, a camera appears , a video appears that captures reality as reliably, easily and quickly as possible, and

painters, in fact, visual artists, they rethink why painting then, and what is its role, what does an artist do then , and here they invent each of your separate genres, their own a separate direction, impressionism, surrealism, expressionism, fauvism, yes, that is, this period, as malevich calls it, the period of emergence. various isms, yes, futurism, cubofuturism, this is an attempt to find a new meaning of painting, and malavich understood that all these isms are temporary in one way or another, that is , it is a kind of wave, yes, here we are working out the idea of ​​movement in painting, yes or there impressions in painting, and what happens next, well, that’s all, you just repeat it, malevich dreamed of reaching a new quality of art, he was absolutely convinced of his own mission, he knew that he will make that revolutionary... leap in art that will leave him in history, he just lived by it, i don't know, he was convinced of it since childhood, and he did it right away, that is, he really searched

for a long time, and we can say that in his last periods before the invention of suprematism, he simply experimented, almost every month he had some new approaches, there were februaryisms, cubofuturism, something else, he, he searched, it was a huge intellectual work, yes, he tried in... that's what he is felt what art should be in some specific form, yes in some visual image, and then he was working on such an edition of sketches for the futuristic opera victory over the sun, which they did back in the 13th year, and it was such an exceptionally bold experiment , how is it possible to transform the most conservative form of art, opera, into something absolutely radical, avant-garde, and they managed to do it... actually, i can spoil it here, the feature film that we are currently working on with my colleagues, with colleagues, malevich, he called, he will be released at the end of this year, and

i hope that it will be in... a wide ukrainian box office, we are actually recreating this atmosphere there, that is, this absolutely incredible, bold breakthrough, yes, yes , and the readiness to face some kind of absolute defeat and misunderstanding of the audience, but to make this artistic gesture, this here this radical and some radical some difference from everything that was before, and here in one of the sets he used just black for a black curtain, it was... just a black curtain, which completely covered the stage, and through it, so the sun was breaking through there, and in the 15th year, while looking through these sketches, he came across this black square, and he understood that it was it, that is, he even had such a moment when he described, that he experienced such a mystical experience, that is, he says: i just saw lightning in my eyes, i just something like this happened to me, i did not understand what was happening to me, i could not eat or drink for a week, i just thought about what i

did. that is, it just dawned on him somehow the moment that this is it, this image, and in fact suprematism as a certain certain certain such series of his works, the one that he exhibited in the 15th year, appears very quickly, there were even technological problems, because he did not have time all this means that the whips should be dried, there is not enough soil, the primer dried, then they cracked, and now they are looking for some additional meanings in this, although it was just such a... had time to dry it all, he just has it was burning under his hands, he had to do it quickly, quickly , besides there was competition, yes, he was not alone, there was also tatlin, there were other artists with whom they competed, it was as if this was such an intellectual and artistic environment , it was very bubbling, who would be the first, who would invent something that would impress everyone else, and yes, he hid it, he tried there so that

no one knew about it, only two people there knew from... speaking of that , actually, what did he do, what was this radical change, he broke the connection between art and reality, that is, all art before malevich appeals to reality in one way or another, yes, even if they are conditional abstractions by kandinsky, they still appeal to reality, because they appeal to a certain psychological... world of ours, yes, that's how we experience something , what feelings, but these experiences, feelings, they are all caused in a certain way, yes, or if they have some emotional impulse from reality, malevich speaks very coldly, mathematically, i would say, very abstractly, i don’t even need emotions for that , to create a new one, me enough color and form and a white canvas , that's all, i can endlessly create worlds, because

i have color and form, and on this ... he bases his system of suprematism, moreover, he understands that it is a complex intellectual construction that not everyone can see in the black square, and he writes a brochure and publishes together with this exhibition, this brochure from cubism and futurism to suprematism, in which he explains what should be read, yes, how art should be understood, this is also a gesture that will later become the basis of modern art, now art does not exist outside the context, outside the additional text, you will not understand if you... do not read, do not make an effort, yomalevich used to say that everyone for some reason believes that art must be adapted to our understanding, and i believe , that we must adapt ourselves and our heads to understanding art, it is amazing, and you know what is amazing to me, when i read these texts of his, it is not a nugget who says this, but he is often called a nugget there, a person who is very like that got a little education and that's all, but when he writes about art, he is a philosophy, he says: