paintings of people we know from of their work in ukraine, such as david burlyuk , let's say, like ivan malevich's how to make it so that the world understands that there is an independent ukrainian painting, which is different from russian, which is not a subdivision of russian, and not , here... here i am i think that it is so clear to everyone that it is not even necessary to understand and mention malevich here, they, they see absolutely art that is simply not seen anywhere, but it smells of ukraine, as i told, how i settled here in vienna, temporarily , you know, i said that vienna smells of art, and i, and i, you see, flow into this channel, but... completely different from the art that exists here and in vienna, in europe and so on, i found my way and here you cannot mix with anyone, and the ukrainian spirit lives, you know, in my every marchuks, this spirit exists in different sections , you know, and people get to know each other, but tell me, you talked about the fact that you want to show this exhibition in different countries, do you have any specific creative ideas? plans, where it

have clear dates of this period, when the rector was ivan vrona, he was actually appointed by skrypnyk there and actually, even appointment of malevich avron agreed with the violinist, as we know from the documents, that is, there were direct direct connections, and this is actually this story that i ... short and but bright these six years, it ends in the 30th year, when actually here this wave of repression against avant-garde art from moscow is reaching kyiv, and because these persecutions of avant-garde artists actually began in russia, from the mid-20s, after lenin died, stalin came to power, when it is no longer necessary was revolutionary art because the soviet union turned into an empire very quickly, and obviously a totalitarian regime does not need revolutionary art. it is dangerous for him. now we will talk about repressions, but i understand correctly, you are now talking about the fact that these repressions, which were back then in the days of stalinism, are the consequence and inertia of this attitude towards avant-gardeism as well, being forgotten in the modern kyiv art academy. undoubtedly, that is, this is the polic

1930, we have clear dates of this period, when ivan vrona was the rector, he was actually appointed skrypnyka there, and in fact, even the appointment of malevich the violinist, as we know from the documents, that is, there were direct direct connections, and this is actually this story, which is vivid. years, it ends in the 30th year, when this wave of repression against avant-garde art from moscow reaches kyiv, and because these persecutions of avant-garde artists, they began first in russia, in 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 totalitarian