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		MEDICAL HERMENEUTICS INSPECTION

Biographical information: Group Inspection "Medical Hermeneutics", the most interesting and productive conceptual art group in Russian Contemporary art, was founded in 1987 by Pavel Pepperstein.
Group memebership: 1987-1991 - S. Anufriev, Ju. Leiderman, P. Pepperstein, since April 1991 - Leiderman works separately, being replaced by V. Fedorov
There’s no principal difference between group and personal zctivity in "Medical Hermeneutics" ideology, though it’s the group’s official position, which is somewhat far from reality.
If the early texts adn exhibition of the group (1987-1991) have really had a feeling of of collective work (even when the text was written by someone personally), then since Leiderman has left the group, Pepperstein’s dominating role is more and more evident.
At the long run, since 1998 we may talk about personal career of Peppersein, who has taken responsibility for the group’s activity - be it past or present.
Collections where works are held
Participation in exhibitions and auctions: SELECTED SOLO EXHIBITIONS:

1998 "Binokel und Monokel - Leben und Werke", Kunsthaus Zug
1997 "Porträt eines Greises", Staatliche Russische Museen, Saint Petersburg
1996 "Das weisse Fenster", Villa Waldberta, Feldafing
1995 "Das Problem der Erinnerung", Kiew
1994 "Erlebnis im Turm (Der goldene Schatten)", Galerie Inga Baecker, Köln
"Paramen, Galerie Grita Insam", Vienna
"Processioni", Human Space Modern Art Center, Milano
1993 "Switzerland + Medicine", Swiss Institute, New York
"Leere Ikonen", Galerie l, Moscow
"Goldene Ikonen und schwarze Linie", Kunstverein Hamburg, Hamburg
1992 "Ein Seitenraum des Sakralen in der UdSSR", Galerie Grita Insam, Vienna
"Die Schweiz + die Medizin", Shedhalle, Zürich
"19 - 91, Galerie Walcheturm", Zürich
1991 "Das Militärleben von kleinen Bildern", Galerie Krings-Ernst, Köln
1990 "Drei Inspektoren (Drei Kinder)", Galerie Mladych, Prag
"Orthodoxe Ablutschungen / Umschläge und Abschlüsse", Kunsthalle Düsseldorf

SELECTION GROUP EXHIBITIONS:

2001 "Body of Art", Biennale di Valencia
2000 "Image of father in Contemporary Art", Haus am Waldsee, Berlin
"Star of MH", Museum of contemporary Art, Karaganda , Kazakstan
"Le Pôle du Froid", École nationale supérieure des Beaux Arts, Paris. Central House of Artists, Moscow
"Expeditions", Gwelman Gallery, Moscow
1999 "Präprintium", Graz
"Solitude in Budapest", Akademie of Fine Art, Budapest
"Star of MH", Museum of contemporary Art Zaritzino, Kraswojarsk
"Neues Museum", Ifa-Galerie, Berlin
"Ökologie der Leere |Inst. für zeitgen. Kunst", Moscow
1998 "Mystical correct", Galerie Hohenthal & Bergen, Berlin
"Flug, Entfernung, Verschwinden", Sophienhof, Kiel
"Präprintium", Staatsbibliothek zu Berlin, Preussischer Kulturbesitz, Berlin
"Ausstellung von Projekten", Aidan Galerie, Moscow
"Das Märchen besuchen", Institut für zeitgenössische Kunst, Moscow
"Biennale Cetinje", Crna Gora, Montenegro
"Euromont", Moscow
"Gesichter", Zarizyno Museum, Wanderausstellung, Russland
"Entropia at home/Entropia zuhause", Ludwig Forum, Aachen
"Von Lissitzkij bis Pepperstein", Griffelkunst Hamburg
"Lenin", Galerie Hohenthal & Bergen, Berlin
1996 "Kunst im Verborgenen", Nonkonformisten Russlands
1957-95, Sammlung Museum für zeitgenössische Kunst, Zarizyno. Ludwigshafen a Rh. Kassel, Altenburg
"In Moscow...In Moscow...", Badischer Kunstverein Karlsruhe
"Flug, Entfernung, Verschwinden", Nationalgalerie, Prague, Haus am Waldsee, Berlin
"Kräftemessen", Kunstraum Lothringerstrasse, Munich
"Papier", Galerie Hohenthal, Köln
"Hölle(r), Hermeneutik und die auf dem Wasser Sitzenden", Galerie Sophie Ungers, Köln
"Über Schönheit", Ridshina Galerie, Moscow
"Grenzen der Interpretation", Russische Humanitäre Universität, Moscow
1993 "Fontanelle. Kunst in (x) Zwischenfällen", Kunstspeicher, Potsdam
"Kontext Kunst. Die Kunst der 90er", Neue Galerie, Graz
"Adresse provisiore pour l`art contemporain russe", Musée des la Poste, Paris
"Passagio del Oriente", Biennale die Venezia, Venezia
"Exchange II", Shedhalle Zürich
"Pré-création", Fri-Art, Centre d`art contemporain, Fribourg
"Sehen-Lesen. Die Sprache der Kunst", Kunsthalle Vienna, Kunstvereien Frankfurt am Main
"Fluchtpunkt Moscow", Ludwig Forum, Aachen
"Moscower Künstler der Neunziger Jahre", Zentrales Künstlerhaus, Moscow
"Sieg und Niederlage", Galerie Obscuri Viri, Moscow
"Architektur als Idee", Deichtorhallen Hamburg
"6 Moscower Konzeptualisten", Galerie Rigassi Bern
1992 "Russische Kunst von den 60er Jahren bis zur Perestrojka", Setagaya Museum, Tokyo
"MANI Museum - 40 Moscower Künstler im Frankfurter Karmelitenklosterkau"
"Mutter-Kosmos", Moscow
"Sowjetische Kunst um 1900", Kunsthalle Düsseldorf
"...a Mosca.... a Mosca", Villa Campoleto, Ercolano. Galleria Comunale d`Arte, Bologna
"Perspective of Cenceptualism", The Honlulu University
Gallery P.S.1. Clocktower Gallery, New York
1990 "Artisti Russi Contemporanei", Museo d`Arte Contemporanea Lugi Pecci, Prato
"In Richtung des Objekts", Kaschirskaja Ausstellungshalle, Moscow
"Hier und dort", Awtosawodskaja-Halle, Moscow
"The work of art in the age of Perestrojka", Gallery Phillis Kind, New York
"The green show", Exit Art, New York
"Mosca, Moskva, Moscow", Sala Umberto Boccioni, Milano
"Between Spring and Summer", Tacoma Art Museum, Tacoma, ICA Boston, Boston
"In den USSR en erbuiten", Stedelijk Museum, Amsterdam
"Katalog", Palast der Jugend, Moscow
"Shizo China", KLAVA, Moscow
"Für kulitivierte Freizeit", Moscow
1989 "Teure Kunst", Palast der Jugend, Moscow
"Perspektiven des Konzeptualismus", KLAVA, Moscow
"ISKUNSTVO", 2. Teil, Moscow-Berlin
"Moscow-Vienna-New York/Kunst zur Zeit", Messepalast, Vienna
Furmannnyj Gasse, Warsaw
"UdSSR heute", Sammlung Ludwig , Neue Galerie, Köln
1988 "Zweite Ausstellung der KLAVA (Klub der Avantgardisten)", Moscow
Autobiographical notes
What the critics say: Ideology of "Medical Hermeneutics" being a mix of seemingly incompatible descriptive languages - from contemporary Western philosophy and theological doctrines of Taoism and Russian Orthodox church to psychiatry and pharmacology - creates a unique narrative manner, where schizoidness is ostentatious and becomes a method itself. This allows the group to cofver everything and at the same time achieve very productivr results in a seemingly quasi-scientific texts.
The imitation of madness is mixed with irony as tightly as far could the readers or viewers may excercise their patience and/or sense of humour. "Medical Hermeneutics" artistic and theoretical texts, as well as their installationa dn graphics, are undoubtedly the most vivid product of the generation that came after the "senior" Conceptualists.
Bibliography

* - This information has been provided by the Soros Center for Contemporary

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