In his film, Maksim Shved follows in the footsteps of the Minsk-based artist Zahar Kudin, one of Belarus’s most interesting young painters. Kudin is inspired by … municipal administration employees who paint over graffiti. Drab rectangles hiding personal confessions, as well as political slogans, are a pretext for the formulation of a playful artistic manifesto that makes references to Malevich’s Suprematism. Walking around the city with a large white canvas, the painter attracts the attention of passersby, who gladly engage in discussions about art and life, as well as that of the ubiquitous undercover police trying to sniff out “political provocation.” Pure Art is also a film about Minsk: its monumental architecture, broad promenades, and huge apartment blocks. Constantly appearing in the background are marching soldiers, tanks, and armored personnel carriers. This show of strength in the form of a huge parade metaphorically heralds a confrontation between the authorities and society.