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      • Editora FiloCzar

        "Editora FiloCzar aims to promote intellectual and artistic production, making it accessible to the most diverse audiences. Its purpose is to provide access to culture, to that end, it publishes books on peripheral literature, poetry, philosophy, psychology, psychodrama, education, veganism, technology, among others, establishing bridges between academic production and peripheral languages. "Goals * Favor the perception of possible worlds to anyone; * Enable situations that provide a taste for self-care and the other; * Implement actions that allow the construction in the collective of a new form of conviviality that makes the pleasure of the meeting common; * Cultivate a taste for knowledge. To meet these objectives, Editora FiloCzar is composed of: For a Publisher: It aims to promote intellectual and artistic production, making it accessible to the most diverse audiences, with the purpose of providing access to culture. Address: Rua Durval Guerra de Azevedo, 511 - Parque Santo Antônio - São Paulo-SP. For a Bookstore - which aims to sell the most diverse titles, in all areas, containing in its catalog, in addition to our authors, independent authors and books produced by other publishers. Currently we have the virtual bookstore and the street store, which is located at Rua Durval Guerra de Azevedo, 511 - Parque Santo Antônio - São Paulo-SP. For a School - Free School of Philosophy, Science and Art - For this we have space for courses, events and for art in general. As a fixed activity, we have some ongoing courses, painting exhibitions, the Cineclube Navegantes and Cinefilosofia. Address: Rua Durval Guerra de Azevedo, 511 - Parque Santo Antônio - São Paulo-SP. For a Library open to the community - Otaviano Mendes Library - For this purpose we have physical space for the collection currently available for local consultation. Address: Rua Durval Guerra de Azevedo, 511 - Parque Santo Antônio - São Paulo-SP Contacts editor's email: cesar@editorafiloczar.com.br Phone: 11 5512-1110

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      • Pontas Literary & Film Agency

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      • Kazimir Malevich. Kyiv Aspect
        Memoirs
        2019

        Kazimir Malevich. Kyiv Aspect

        by Tetyana Filevska

        Kazimir Malevich. Kyiv Aspect' is an anthology that contains 18 researches on Malevich’s Kyiv period, his first 17 years living in Ukraine, his time of teaching at Kyiv Art Institute and his artworks of that time; parallel comparisons of Malevich’s style and his relationships with his contemporary artists, new biographical studies, etc. Some of the most respected Ukrainian and international Malevich researchers (Jean-Claude Marcadé, Christina Lodder, Irina Vakar, Myroslava M. Mudrak, Iwona Luba, Aleksandr Lisov, Dmytro Horbachov, Tetyana Filevska, Serhii Pobozhii, Ostap Kovalchuk, Yaryna Tsymbal) are among the authors of this volume. Published by RODOVID and 'Malevich Institute' NGO

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      • Kazymyr Malevych. Kyiv Period 1928-1930
        Biography & True Stories
        2016

        Kazymyr Malevych. Kyiv Period 1928-1930

        by Tetyana Filevska (compiler)

        This publication presents Kazymyr Malevich’s theoretical legacy, which is first and foremost connected to the time he spent in Kyiv and in Ukraine. When he lived in Kyiv, he taught at the Kyiv Art Institute and published in the journals Nova Generatsiia (New Generation) and Avanhard (Avant-Garde). The book also contains his letters, memoirs, and various publications related to his exhibition at the Kyiv Art Gallery in the 1930. Kazymyr Malevich: The Kyiv Period is unique in that it includes not only the artist’s well-known essays, but also tsome previously unpublished exts of his authorship that were discovered in 2015 in the Kyiv archive of a well known artist Marian Kropyvnytsky. In the late 1920s, Kropyvnytsky was Malevich’s personal assistant at the Kyiv Art Institute.

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      • T. Shevchenko. Life in art
        Art forms
        2022

        T. Shevchenko. Life in art

        by Dmytro Stus, Tetyana Chuiko, Anastasia Morozova, Yulia Shilenko

        Of course, the fate of the artist was formed in a certain way because he realized his vocation - to be a poet. On the other hand, he lived his life as a professional artist. After graduating from the St. Petersburg Academy of Arts, T. Shevchenko worked as an artist in the Temporary Commission for the consideration of ancient acts (Kyiv Archaeographic Commission), applied for the position of drawing teacher at the University of St. Volodymyr in Kyiv. And when his plans were broken by arrest, then in exile, despite the strict imperial ban on writing and drawing, the artist was able to work in his specialty, although not officially. Shevchenko devoted the last years of his life to the development of etching, having received the title of academician in engraving. The publication consists of two parts. The first is devoted to the works of the artist, made in graphic techniques, as well as sepia and watercolor. Given the fact that there are few oil paintings in the artist's works, we singled them out in the second part, trying to break stereotypes about their perception. Each section of the first part is devoted to a separate genre, which was addressed by T. Shevchenko. The largest of the sections are divided into thematic headings, which allows you to see the works of the artist from a new, perhaps unexpected, angle. In turn, the commentary to each work contains a brief history of creation (places, circumstances, relationships, etc.) and artistic characteristics that reveal the performing skills of the author. In addition, an important addition is the part of the commentary "Interesting" and quotes from the novels, Diary, correspondence of the artist, memoirs of his contemporaries. You can start your acquaintance with the publication from any section or even heading. Traveling through Shevchenko's paintings on separate routes you will have a complete rich journey through the original world of the artist.

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      • 77 days of February. Ukraine between two symbolic dates of the Russian war ideology
        Memoirs
        2022

        77 days of February. Ukraine between two symbolic dates of the Russian war ideology

        by Marichka Paplauskaite (Compiler), Authors: Inna Adrug, Anna Argirova, Kateryna Babkina, Tetyana Bezruk, Oleksandra Gorchynska, Inna Zolotukhina, Vera Kuriko, Olena Livytska, Olga Livytska, Svitlana Oslavska, Marichka Paplauskaite, Eva Raiska, Anya Semenyuk, Zoya Khramchenko, Margarita Chimyris, Iryna Yaroshynska

        As a child, she could not understand why people in films about the blockade of Leningrad were always lying down. And when Mariupol was besieged by the Russians, and she and her husband lived for many days without water, food and heat under constant shelling, she realized that when you lie down, you save strength and energy. "77 Days of February" included reports written by journalists of the Reporters media in the period between February 23 and May 9 — two symbolic dates for Russian military ideology. The invasion of Russian troops into Ukraine stopped the number of days and pushed Ukrainians back to the intervening time, where February — the month of the beginning of the great war — still lasts. In the meantime and in these candid stories, there is pain, fear, hatred, and sometimes despair. But the main thing is hope. This is a bare nerve and an honest voice of the new Ukrainian reality.

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      • Instant Time

        Instant Time

        by Catalogue editors: Anna Pohribna, Solomia Savchuk. Texts: Piotr Armyanovski, Olena Afanasyeva, Yuliya Vaganova, Lia Dostlieva & Andrii Dostliev, Anatol Zvizhynsky, Gamlet Zinkivsky, Georgiy Kasyanov, Vlodko Kaufman, Max Kovalchuk, Rostyslav Koterlin, Yuriy Koch, Olha Pohribna-Koch, Tetyana Pavlova, Sergiy Petlyuk, Julia Polunina-But, Ihor Podolchak, Nadia Prygodych, Kateryna Tykhonenko, Krolikowski Art

        The publication is the catalogue to Instant Time exhibition. Instant time is a metaphor for Ukraine’s fundamentally new experience in the 1990s. Time sped up in the first years of independence, changes and decisions came quickly, information and phenomena spread like lightning, and disappeared equally so. The information vacuum filled spontaneously, without any filters or barriers, and absorbed everything that fell into its space. A craving for the new grew on the backdrop of the influx of ersatz, poor quality substitutes and surrogates, that, nonetheless, genuinely inspired and captivated, and sometimes provoked the emergence of unique phenomena, and not only on a local scale.        The exhibition narrative consists of stories of 9 cities and regions of Ukraine. The group of curators create a cross-section of the socio-political context of their cities, focusing on stories about places, people and phenomena, exploring their fears and dreams in these historical conditions. Memories and interpretations create a fragile fabric of reality that brings to light what people in the ‘90s felt and how they changed. Social and personal dimensions are complemented by optics of different generations of artists. The views of the participants of those cultural events stand side-by-side with the voices of those who were born in the ‘90s and are making contemporary art today. This approach allows us to construct a larger picture of the ‘90s and to expand the usual perspective with a new set of ethics — looking at a world built by adults through the eyes of children. Instead of answering the question: “What were the ‘90s?” the curators and artists construct a space for experimenting on their own memories, to put forth an important question: “What remains today of the ‘90s?” Events and phenomenon don’t disappear completely, don’t dissolve without a trace, they sink into habits and continue in practices today. In remembering the ‘90s we try to understand the present. We not only recreate the sensory story of the ‘90s, we analyze what has been preserved in our memory and become important to us.

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