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| LEIDERMAN, Yury Alexandrovich |
Solo exhibitions
1989Selected group exhibitions
1983Intellectual biography of Yuri Leiderman at different stages brought him as a poetics of the archive, and with the poetry of reality. He was involved in the Moscow conceptual school Ilya Kabakov and Andrei Monastyrskoye, . was a member of their most istyh followers ( "Medical Hermeneutics"), but then distanced himself just at the moment, when the work of this circle of artists began to take the contours of the poetics of the archive. Later, he shared with Oleg Kulik, Anatoly Osmolovsky etc.. efforts to update the value horizons of the Moscow art scene, but distanced himself from them and when their work was to take the contours of the poetics of reality. It is absolutely obvious exhaustion of underground tradition: pointless to revive the past, fetishiziruya its texts and tenets. Traditions have to return it to the original status, ie. it must become a fact of history. But at the same time, it is obvious that with the reduction of the tradition disappears last system that made the ontological status of being. The scale and drama of this disaster must be grasped thoroughly and responsibly: it denies the reality of blind faith in the distance and, consequently, the possibility of comprehension.
As a result, poetics Leiderman aims at acquiring a new post-catastrophic identity and can be determined by the negative ontology. Meaning of this poetics in a constant appeal to the universalistic horizon, a constant building of ontological structures. Confronting the lapidary poetics of reality, Leiderman sees particular value in speculative sophistication, impeccable logic of causal processes, architectonic harmony of its ontological models. However, it has consistently based his designs laid semantic vacuum: one of the links in their semantic chain is disconnected. Thus, poetics Leiderman reconstructs ontological values and simultaneously dismantles them. Thus, in times of crisis ontologies, striving to avoid the ideological ghosts or conservative orthodoxy, he is trying valorizirovat the process of recovery of the ontology.
In this particular value for the poetics Leiderman have just these zones redemption meaning, so striking in the context of the crystal Cartesian logic. After all, they seem fraught by some new measurements, it appears there is the possibility of other values. Thus, in contrast to the poetics of the archive, absolutizes past, and the poetics of reality, Absolutized net present, the poetics of negative ontology opens potential future time. In contrast to the perception of a fetish archivists, turned to the texts of the tradition, . or greedy privatizers perception of reality, turned to a new property, poetics of negative ontology offers a completely different, disinterested perception, Experience pure vision - it is the only value that can be learned from the process of ontological collapse, it is the only basis on which to build a post-catastrophic identity.
Obviously, the poetics of looking for a pure vision, completely uninterested in representation: it does not need it either tactically or strategically. After all, if the tactical calculations invariably brings art to a professional routine, the strategic focus inevitably leads him to the identity of showbiz. The true meaning of today do not lend themselves to communication: they retain the character is deeply intimate and inexpressible. Therefore the only possible representation is one that fully makes its ineffectiveness and simultaneously attaches to the submission of the possibility of another, nereprezentiruemoy communication. Only by inertia or naivety can still perceive the significance of art: its only value is that it gives more opportunity for gaining experience, the art does not have a direct relationship.
V. Misiano. "Yuri Leiderman` s Negative Ontology ". Catalog of the exhibition "La route Jura-Paris (fragments)". Gallery Michel Rein, Tours, France, 1994
* - This information has been provided by the Soros Center for Contemporary
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