, and tatlin is played by a young actor e.dr novikov, he less known, probably, as an actual film actor, but he is so structurally similar to tatlin that we just couldn't help but cast him in this role, and he played it very well, very well, now i definitely want to ask you about this dramatic the story, i know that this is not the first time you will tell about it, but i think that not so many people know this story about malevich's will, about how he ... thought out his funeral and his burial and his grave, and what is it all over yes, well, actually malevich was sick for a long time, he knew that the disease incurable, and he had time to prepare for his farewell, he, like a true artist , turned his funeral into a performance and he himself wrote the script of the funeral, he drew a sketch. he actually left a will and what to do, where and so on, and in fact everything happened according to this will according to this scenario, and this was probably also his protest against the regime, against the system, yes, when he actuall

and you asked about tatlin, and i want to ask if it is true, or is it, is it a legend that tatlin, the founder of world constructivism, he was a bandurist, i heard it's from dmitri gorbachev, but that they sang songs together with malevich, this is a true story, uh, i want to spoil our film about malevich a little here again, because we have malevich tatlin as one of the main characters, and there we let's touch on this topic as well, and the fact that malevich, that tarlin was a bandura player, is an absolute truth, and this is evidenced by memories and photographs, there are photos of tatlin with a bandura, moreover, he himself made banduras, that is, his e these reliefs of his are so-called, that is, or counter-reliefs, here are these... objects, this is actually a bandura disassembled in the cubist sense, yes, that is, if, for example, picasso in his cubist works turns to the guitar, which was part of his culture. spanish or catalan, then for tatlin this kind of prototype of these stretched strings in the corner is the bandura, obviously , that is, he disassembled it, assembled it,

eh, i want to spoil a little here again our film about malevich, because in we have malevich and tatlin as one of the main characters, and there we touch on this and that topic a little. and yes, the fact that malevich, that tarlin was a bandurist is the absolute truth, and this is evidenced by memories and photographs, there are photos of tatlyan from bandur, moreover, he made bandur himself, that is, his... these are his reliefs, so-called , yes, that is, or counter-reliefs, here are these objects, this is actually a bandura disassembled in the cubist sense, yes, that is, if, for example, picasso in his cubist works, turns to the guitar, which was part of his culture, yes, spanish or catalan, then for tatlin this kind of prototype of these stretched strings in the corner is the bandura, obviously, that is, he disassembled it, assembled it. he constructed it, she inspired him, and whether melevich sang with tatlin, we may not know for sure, but there was a period when they communicated very well, there are even photographs that malevich tried to destroy, but they have reached our time,

furniture, dishes, that is, for him it was either everywhere, or it's not art, but you mentioned tatlini want to ask if it's true, or is it, is it a legend that tatlin, the founder of world constructivism, he was a bandurist, i heard it from dmitry gorbachev, but what they we sang songs together with malevich, it's true, it's a true story, i want to spoil our film about malevich here again. yes, the fact that malevich, that tarlin was a bandura player, is the absolute truth, and this is evidenced by memories and photographs, there are photos of tatlin with a bandura, moreover, he himself made banduras, that is, his reliefs are so-called, yes, that is, or counter-reliefs, these objects, this is actually a bandura disassembled in a ... cubist sense, yes, that is, if, for example, picasso in his cubist in his works, he turns to the guitar, which was part of his culture, yes, spanish or catalan, for tatlin, this kind of prototype of these stretched strings in the corner is the bandura, obviously, that is , he disassembled it, assembled it, he constructed it, it inspired him, and did melevic

and you asked about tatlin, and i want to ask whether it is true, or whether it is a legend that tatlinder of world constructivism, he was a bandurist. i heard it from dmitry gorbachev, but that they sang songs together with malevich, is this a true story? i would like to spoil our film about malevich a little here again, because we have malevich and tatlin as one of the main characters, and there we touch on this and this topic a little. and yes, the fact that malevich, that tarlin was a bandura artist, is the absolute truth, and this is evidenced by memories and photos, there are photos of tatlin from bandura, moreover, he... made banduras himself, that is, these are his his e-reliefs are so-called, yes, that is, or counter-reliefs, lo these objects are actually a bandura disassembled in the cubist sense, yes , that is, if, for example, picasso in his cubist works refers to the guitar, which was part of his culture, yes spanish or catalan, then for tatlin this is a prototype of these stretched there are strings in the corner... the bandura is obvious, that is, he disassembled it, asse

came to kyiv called kyiv bauhaus, because it was an absolutely unique art school, where volodymyr tatlin, oleksandr bogomazov, mykhailo boychuk, malevich, and a lot of generally prominent artists who gathered within the same walls taught at the same time, and each of them had their own teaching method, it was the period, actually this... yes, it is specifically 1924, 1930, we have clear dates for this period, when the rector was ivan vrona, he was actually appointed violinist there, and in fact even the appointment of malevich avron agreed with skrypnyk, as we know from the documents, that is, there were direct direct connections, and this is actually this story, which is bright, short and, but bright these six years, it ends in the 30th year, when this wave of repression against avant-garde art from moscow is actually rolling in to kyiv, and because these persecutions of avant-gardes actually 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 obviousl

kyiv called it the kyiv bauhaus, because it was. an absolutely unique art school, where volodymyr tatlin, oleksandr bogomazov, mykhailo boychuk, malevich, and a lot of outstanding artists who gathered there in the same walls, and each of them had their own teaching method there, it was the period of this ukrainization and skrypnyk's policy, so it's all thanks to him, so it's specifically the year 1924, we have clear records of 1930. dates of this period, when the rector was ivan vrona, he was actually appointed a violinist there, and in fact, even the appointment of malevich, avron agreed with skrypnyk, as we know from the documents, that is, there were direct direct connections, and this is exactly the story, what a bright, short, yes, but bright these six years, it ends in the 30th year, when actually this wave of repression against avant-garde art from moscow reaches kyiv, and because actually these ho... on avant-garde artists, they started first in russia, from the middle of the 20 -th, after lenin died, stalin came to power, when revolutionary art was no longer needed, because the

to do it quickly, quickly , besides there was competition, yes, he was not alone, there was also tatliner 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 co

kyiv called it the kyiv bauhaus, because it was an absolutely unique art school, where volodymyr tatlineksandr bogomazov, mykhailo boychuk, malevich, and a lot of generally prominent artists who gathered in the same walls taught at the same time, and each of them had their own teaching method, it was the period is actually this ukraine.