Evidence that the history of art as a textual integrity with interrelated values and meanings is merged in the present is the Museum of Modern Sculpture of Mikhail Dzyndra (1921—2006) — almost the only museum of modern sculpture in Ukraine, since October 9, 2005 — museum unit of Lviv National Gallery of Art named after B.G. Voznitsky.

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A diverse and numerous exposition in the village. Bryukhovichi was carved and discovered by the master himself — sculptor, painter, graphic artist, architect, native of the village. Demnya is from Lviv region, a graduate of the Lviv Art and Industry School and the Munich Academy of Arts, a student of Andriy Koverko, Bohdan Mukhin and Ivan Severa, who lived and worked in the United States in 1951—1991 and returned to Ukraine on the slope of life.

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At the exposition created by the project of M. Jindra, 807 sculptures are presented. Cornerstones of its concept are dialogue with the viewer and the expression of the interaction of the sculpture with the environment through lighting and visual division of the room into several sectors.

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The credo of the master's creativity was the manifestation of love for life through art, “because creativity itself is an amazing journey of imagination to the mysterious universe.” Means were powerful modeling and generalization of the form, the desire to spiritualize it, mastery of world experience and national cultural heritage, the kinetics of artistic images, their openness to reading.

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Works by M. The jingles presented in the museum form several thematic groups. The first is garden and park sculptures designed for perception from different points of view, created thanks to the unique author's combination of building mesh, reinforcement, cement (“Mexican Motif”, “Big Abstract”, “Red Abstract”, “Double Arch”, “Sail”).

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The second is the easel associative plastic of 1968—1978, based on generalization, grotesque, transformation of forms that serve the expression of philosophical-existential and moral meanings (“Apostle”, “Prayernik”, “Caveman”, “Ukrainian”, “Poet”, “Banat” Dootist”, “Japanese”).

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The third is abstract plastic of free form (“Fantasy Wheel”, “Bed”, “Red Wall”), in which, distancing from reality, the master captures and reproduces the essence, substances and symbols of life, detailed metaphors of its manifestations.

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The fourth is made up of portraits in which the internal movement, developing outwards, creates a special atmosphere of spiritual radiation (“Frightened Soldier”, “Prayer”, “Woman”, “Negro”).

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Fifth — architectural objects that absorbed the dynamics and harmony of the world, the interaction of natural and cultivated forms (“Castle”, “Architectural fantasy”, “Lampshade”, “Verkhovna Rada”, “House for the homeless”, “Old architecture”, “Destroyed gallery”, “Modern Architectural form”).

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The exposition is completed by the bas-reliefs of 1973—1999 — associative, diverse in form, based on the experience of impressions, thoughts, experiences.

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After visiting the Museum of Modern Sculpture of Mikhail Dzyndra, everyone is reacquainted with the wisdom of the artistic form, speaking the universe through it, because, according to the sculptor, “the most brilliant creator is the Heavenly Father. For every true achievement in art brings us closer to dialogue with him.”

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