we have gathered here to talk, truly, about a super wonderful, super wonderful woman, vera. mukhinaher life, about her work, and let's start with those items that standing here on the table, here are three faceted glasses, there is a version that it was vera mukhina, whom most of us, of course, remember and know from the majestic sculpture as a working collective farmer, nevertheless, it was she who came up with this glass and thus the range of her creativity from a glass to this wonderful sculpture, tell me, is it true or not true that this is the invention of vera mukhina? well, i don't think that's true. that is, it is categorically untrue. you know, there are different versions of what actually vera mukhina did exactly that, but i want to say that i understand why this legend stuck to her, yes, because she was a great sculptor, a great artist, really very talented, she led a lot, she was the artistic director of the leningrad plant. glass, of course, from under her signature, after the artistic councils a lot of things went into production, well, because the art director, as alw

or is it not true that this is vera mukhina's invention?ell, i think that it is not true, that is , categorically not true. you know, there is different versions of what exactly vera mukhina did, but i want to say that i understand why this legend stuck to her, yes, because she was a great sculptor, a great artist, really very talented, she led for a long time, was the artistic director of the leningrad art glass factory, of course, under her signature, that's the advice, a lot of things went into production, well, because the art director, as always, even now in the modern world, also signs everything into production or sales, so there were probably glasses, and glasses for water, for wine, and there are many stories about how she tested everything herself, even if at the village council, for example, they were making a glass for wine, she would say, let's pour some water from a decanter, let's try how convenient it is to mold from this, by the way, you can look, yes, but - specifically about a faceted glass. it seems to me that this was a

some kind of breakthrough, purely technological, well , that is, it really wasn’t a choice, but vera mukhinait was a proposal, she was told that it needed to be made of steel, that is, it was like they came to her with this material already. it’s interesting what she did, for example, when sculpture flowed out about the synthesis of art and about how she generally thought outside the box, in the fifties, there was an exhibition in the russian museum, where she showed a female torso made of glass, and it was matte, well matte, like yes, it showed volume, and vera mukhina wanted a transparent cake to be shown, because it wasn’t in a museum, but somewhere in a park or a garden, where there was greenery all around, and it was as if this sculpture had collected... moisture from plants around, it was formed from dew, from rain, that’s what she wanted, that is, as if she even thought about the sculpture, how they would be exhibited, she had this figurative conceptual thinking, she was, after all, not such an applied artist, but in order to make something there to order, she thought very globally, d

dear friends, we continue our conversation about vera mukhina and... my guests are the founder of theuseum alexandra sankova and the architect artist yuri avakumov, well, what happens is that this woman, yes, who made these nice things that are so necessary in everyday life, and which would seem so far from any ideology in general, yes, this woman, probably already to you then, yes, let's pass on yuri, she creates this absolutely amazing project, which has become... in paris , a competition was announced for a very difficult section of the soviet union, and it seems that more than one competition was announced, but in general, a commissioned competition was attended by architects like the same milnikov or the same shchusev, and he bypassed them, he bypassed them, he really had, even if you look at it with today's eyes, he really had the best project, even better than melnikov's, even better, better, better, shchusev generally did a rather banal thing, melnikov, yes melnikov. did it as if too much, as was rightly considered, too original, and iofan succeeded of course a great thing, an

and very ancient, on saturday on the first , dear friends, we continue our conversation about vera mukhinae the founder of the moscow design museum and director of this museum alexandra sankova and the architect, artist... a great thing, and moreover, it turned out to be fashionable, too, he just this art deco turned out very beautifully, and at the same time, i can say in a nutshell for dark people, this style is very industrial on the one hand and is entirely built on such a sort of stratified movement, so in this pavilion in particular, this kind of knocking down, stepwise knocking down and form happens all the time. it stretches out, as if it were filmed in slow motion, it’s all flaky, and at the same time this is the style of derejables in these corrugated suitcases, in clothes it manifested itself in all sorts of corrugations, plesses there and so on, this is the style such, well, i don’t know, aerodynamics too, but how does art deco literally translate from french - art and decorative, and deco, decorative, right? but the site was really difficult, because we got it, although we bou

the author is the famous sculptor vera mukhina. by the way, this standard of socialist realism was first presented in 1937 at an international exhibition in paris. and only two years later, the sixty-three-ton monument was seen at the opening of the all-union agricultural farm. exhibitions in moscow. we are now in the space of a new exhibition, the exhibition is called vdnkh. city of dreams. here you can see a lot of archival footage, filming and the first days of work. exhibitions in august 1939 until today. the first belarusian pavilion appeared back in 1937, although it was located in a different place, more like a wooden hut. therefore, it was erected for the opening of the all-union agricultural exhibition. a new building, a wooden but plastered pavilion was also built, which was already so majestic, in our opinion, it was decorated with sculptural compositions, it was located exactly in this place where our pavilion is located today, but after the thirty-ninth year, the years of war, years, when naturally no one looked after

stood on the chelsies fields, a symbol states of a new type, worker collective farmer, sculptor vera mukhina and architect boris iofan. germany also presented a new type, a pavilion in the form of the roman numeral three, an allusion to the third reich. that is, 2 years before the opening of the all-russian agricultural exhibition, the collective farm workers are in paris, it turns out. a fragment was cut out of the picture: here it is, cars driving past a huge statue of stalin. scenes from the film the shining path are also filmed here. lyubov orlova in the role of the weaver claudia will fly through the mechanization pavilion in a convertible. here you will meet the winemaker shepherd, vladimir zeldin and marina ladynina. this emphasized abundance, of course, was better to see in person. on august 1 , the all-union agricultural exhibition opens in moscow. in terms of its scale, it will be one of the largest in the world. it was constantly changing, pavilions of the union republics and industry exhibitions were added, but on july 1 , the 41st all-russian agricultural exhibition was closed,

helsinki, he won gold in singles, but in parallel with his sports career, yuri tyukalov entered the vera mukhina art school to become a small -scale architect. his works are still kept in museums in st. petersburg and elsewhere. even among the decorations, the exterior of the stieglitz academy changed for a while. to hide the modern paving slabs, three kamaz trucks of soil were brought to solyanoy lane, although the st. petersburg rain added its own touches to the decorations. the soil was washed away, but - the artists say - this view even better conveys the atmosphere of the post-war city. a few steps take you back decades, and now a one-and-a-half ton truck is driving through the city center, and before the eyes of passersby, petersburg is turning into leningrad of the late 1940s. the filmmakers create history in detail with pinpoint precision, for example, they searched for kayaks of that time all over the country, restored them, and returned them to the water. all the texture, the oars, everything , well, all of this, well, so thoroughly worked out and so precisely, so visible in the frame,

a lot of new things, on this we say goodbye to you, our dear viewers, so, we talked about vera ignatyevna mukhinare alexandra sankova, director and founder of the moscow design museum and yuri avakomov, architect, artist, curator. thank you very much, dear friends. this is a podcast of witnesses from einstein and its hosts, i am a film historian natalia ryabshchikova and my colleague stanislav didinsky. in this podcast we tell who and how created classic, cult, little-known, forgotten soviet films. we delve into the secrets of film archives and tell why it is necessary to watch soviet cinema now. how to understand it better and how to get the most pleasure from it, and today our topic is the ninetieth anniversary of the remarkable soviet director, russian director alexander mita and his film, made at the end of sixties burn-burn my star. stas, why is it important for us to talk about alexander metta? because this is the man who largely laid the foundations for the attitude towards cinema as a kind of mass spectacle. this is the new standard. soviet blockbuster, remember, the film crew, the tale o

chelsian fields stood a pavilion, a symbol of a new type of state, a collective farm worker, sculptor vera mukhinal exhibition, the collective farm workers are standing in paris, i receive. i am on the site of the eiffel tower, opposite the soviet pavilion, the pavilion of nazi germany speer, the third reich, this is the opposition of ideology, through 2 year, the sculpture returns here to the northern entrance to the all-russian agricultural exhibition, then the main one, and the soviet viewer sees how the chase scene in the film foundling begins from this place; the meaning of the chase in a funny film about a lost girl could only be one: to show the exhibition itself. by the way. in the fifties , a fragment was cut out of the picture: here it is, cars driving past a huge statue of stalin. scenes of the film the bright path are also filmed here; lyubov orlova in the role of the weaver claudia will fly through the mechanization pavilion in a convertible. here will meet with winery pastukh, vladimir zeldin and marina ladynina. this emphasized abundance, of course, was better to see in person. on a