LEIDERMAN, Yury Alexandrovich

The State Museum-Reserve Tsaritsyno collection, Moscow
MANI Museum, Moscow
State Russian Museum, S.-Petersburg
Museo d`Arte Contemporaneo Luigi Pecci, Prato, Italy
Neue Galerie - Sammlung Ludwig, Aahen, Germany
National gallery Victoria, Melbourne, Australia
Fonds National d`Art Contemporain (FNAC), Paris, France
P.Sprovieri, Rome, Italy
FRAC, Paris, France
State Tretyakov Gallery, Moscow
Ludwig Museum, Budapest
“ARTEAST 2000+", Ljubljana

Solo exhibitions
1989
The Museum of the Academy of Fine Arts, Warsaw
1990
Galerie Mladych, Prague (in a body of Medical Hermeneutics group)
Kunsthalle Dusseldorf (in a body of Medical Hermeneutics group)
1991
“Stabilisation of psychedelic phantasms”, Krings-Ernst gallery, Cologne
1992
“The Pit and the Pendulum”, Regina gallery, Moscow
“West in Space”, Baykonur cosmodrome (in co-operation with A.Andora)
“The Hound of Baskervilles”, Regina gallery, Moscow
“The Best and the Very Dubious”, Skola gallery & 1.0 gallery, Moscow
“To Joseph Kosuth and Tlins civilisation”, Vita Nova gallery, Minsk
1994
“Soccer World Cup”, Skola gallery, Moscow
“The Best and the Very Dubious”, Inge Baecker gallery, Cologne
“Paris-Jura road /fragments/”, Michel Rein gallery, Tours, France
1995
“The football teams lost”, ART3, Valence, France
1996
“Apprendre l’histoire de l’Europe à un chat ”, FRAC Champagne-Ardennes, Reims, France
1997
“Eskimos”, Overcoat gallery, Moscow
1998 - 2000
“General reminder” (with Janos Sugar), Ludwig Museum, Budapest; Galeria Wyspa, Gdansk; Galerija Miroslav Kraljevic, Zagreb; TV Gallery, Moscow
1999
“Circles and Lumps”, Galerija Skuc, Ljubljana
“Apprendre l’histoire de l’Europe à un chat et mesurer le bonheur en petits chiens”, Michel Rein gallery, Tours, France
2000
“Electrons’ names”, Michel Rein gallery, Paris
“Odysseus and Diomedes”, Galerija SULUJ, Belgrade
“Bill Beirne/Yuri Leiderman” (with Bill Beirne), TV gallery, Moscow
2002
"Géologues: Nord contre Sud", le Creux de l`Enfer, Thiers, France
"To give names to kefir grains", Herzliya Art Museum, Israel
"Achselhohlen eines Entenflugels", GAK, Bremen, Germany
2003
"Bare Buttocks Bremen flower", NCCA, Moscow
2004
Le Quartier, Quimper, France
"Les performances de Dima Blein", Galerie Michel Rein, Paris
"Kefir grains are going onto the flight", Galerija Gregor Podnar, Kranj, Slovenia
2005
"Rapport geopoetique", Musee d`art contemporain, Marseille
"Kolumbarienmaschinen", Elisabeth Kaufmann gallery, Zurich
2006
"On shore. The dances of killed Trojans", KU galerii, Tallinn
2007
"Here comes the Swiss captain home and sees: there is a round box on the table (Geopoetics-5)", Moscow Museum of modern art
"Birmingham pattern", Ikon, Birmingham
"Geopoetika", Galerie Traversee, Munich
2008
Centre d`Art Contemporaine, Geneva
"Third Millennium", Galerija Gregor Podnar, Berlin
2009
"Die Ehre huet von Jugend auf", Museum Folkwang im RWE turm, Essen
2010
"SAMIZDAT", galerie Traversee, Munich
"Orte der Erinnerung" (together with Jochen Gerz), NCCA, Moscow
Selected group exhibitions
1983
“Beyond the fence”, AptArt, Moscow
1984
“Odessa exhibition”, AptArt, Moscow
1987
1-st KLAVA exhibition, Moscow
1988
2-nd KLAVA exhibition, Moscow
“New Russians”, Palace of Culture, Warsaw
1989
“Expensive Art”, 3-rd KLAVA exhibition, Moscow
“Green show”, ExitArt, New York
“Moskau - Wien - New York”, Messepalast, Vienna
“Perspectives of conceptualism”, 4-th KLAVA exhibition, Moscow
1990
“Artisti Russi Contemparanei”, Museo d`Arte Contemparanea, Prato, Italy
“Between Spring and Summer”, Tacoma ArtMuseum, Tacoma/WA/;ICA, Boston
“In de USSR en Erbuiteiten”, Stedelijk Museum, Amsterdam
“Catalogue”, Synthesis Fine Arts, Moscow
“The work of age of perestroika”, Phyllis Kind gallery, New York
“SchisoChina”, 5-th KLAVA exhibition, Moscow
1991
“Perspectives of conceptualism”, The Clocktower gallery, New-York
“Soviet contemporary art”, Setagaya Art Museum, Tokyo
“MANI Museum”, Karmeliterkloster, Frankfurt/M
“Sowietische Kunst um 1990”, Kunsthalle Dusseldorf - CHA, Moscow
“Solitary pursuits”, “1-0”gallery, Moscow
1992
“V Izbach”, Dom kultury, Bratislava
“...a Mosca...a Mosca”, Galeria communale d’Arte Moderna,Bologna and other pl.
3-rd Istanbul Biennale, Istanbul
1993
“Trio acoustico”, CCC, Tours, France
“Sonsbeek’93”, Arnhem, Netherlands
“Adresse provisoire l’art contemporein russe”, Musee de la Poste, Paris
“Fontanelle”, Kunsthalle Potsdam, Germany
“Passage de oriente”, Venice Biennale, Venice
“Exchange”, Moscow
“Identity − Selfhood”, Museum of Contemporary Art, Helsinki
1994
“Fluchtpunkt Moskau”, Ludwigsforum, Aachen, Germany
“Hamburg’s project”, CAC, Moscow
“Workshop of visual anthropology”, CAC, Moscow
“Exchange II”, Amsterdam
1995
“No Man’s Land”, Nikolaj, Copenhagen
“Kraftemessen”, Munich
Galerija Anonimus, Ljubljana
1-st Kwangju Biennale, Kwangju, Korea
“Fly, Leaving, Disappearing”, Galerie hlavniho mesta Prahy, Prague
“Media Mundi”, Britswert, Netherlands
1996
“Interpol”, Fargfabriken, Stockholm
1-st European biennale Manifesta, Rotterdam
“Borders of interpretation”, Russian state humanitarian university, Moscow
“Hello fair-tale”, Contemporary Art Center, Moscow
1997
“The verbal line...”, Russian Centre, Budapest
“Ecology of emptiness”, ICA, Moscow
“Take it of, Put it on, Leave it like that”, Moscow
“New enterings in Russian State Museum collection”, S.-Petersburg, Moscow
“Mystical correct”, Hohenthal&Bergen gallery, Berlin
1998
“Еuroremont”, Cultural centre “Slavjanskiy bazar”, Moscow
“Voyage”, Musee de Valence, France
“Hô!”,Flemish cultural centre “De Brakke Grond”, Amsterdam
“Academy of Ice”, Fine Arts Museum, Odessa
11-th Biennale of Sydney
“Präprintium”, Staatsbibliothek Berlin; Universitat, Bremen
“Ecozone”, Art Manege’98, Moscow
“Fauna”, Malyi Manege, Moscow; Zacheta, Warsaw
1999
“Total recall”, TV gallery, Moscow
“Act 99”, Galerie Maerz, Linz
“Fairy tales”, Metamedia centre Plasy, Czech Rebuplic
“Distant similarities”, Veleterzni palac, Prague
“After the Wall”, Moderna Museum, Stockholm (and other places)
“Le fou dedouble”, CHA, Moscow (and other places)
2000
“Very delicate, sweet taste”, University Library, Warsaw
“L’Autre moitie de l’Europe”, Jeu de Paume, Paris
“Peripheral 4”, Iasi, Romania
“What, how & for whom”, Dom hdlu, Zagreb; Kunsthalle Exnergasse, Vienna
“ARTEAST 2000+ International collection”, Moderna galerija, Ljubljana
“Cooperativ”, Stadthaus, Ulm
“La frontiere recit d’experiences”, Maison du livre/Institut d’art contemporain, Villeurbanne, France
2001
“Iskusstwo 2000”, Kunstverein Rosenheim, Germany
“Small Talk”, Museum of Contemporary Art, Skopje
“Never stop the action”, rotor, Graz
“Konverzacija”, Museum of Contemporary Art, Belgrade
“Geologists at sunset”, Fort Asperen, the Netherlands
"Home made", Stichting V/H de Gemeente, Leeuwarden, the Netherlands
2002
"Broadcasting", Technical Museum, Zagreb
"September horse", Kunstlerhaus Bethanien, Berlin
2003
"By the way…", Moderna Galerija, Zagreb
" Introducing Sites 2", Galerie für Zeitgenössische Kunst, Leipzig
"Incidence", Art Moscow
"Individual Systems", 50th Biennale, Venice
"Histories contemporaines", Institut d`art contemporain, Villeurbanne, France
"Parasite Paradise", Leidsche Rijn, the Netherlands
"Berlin/Moskau", Martin Gropius Bau, Berlin
"Art in variable gravity", Cornerhouse, Manchester
2004
"Shrinking cities", KunstWerke, Berlin
"Techniques of the Visible", Shanghai Biennale
"Flipside", Artists Space, New York
"7 sins", Moderma Galerija, Ljubljana
2005
"Reflections", NCCA, Moscow
"Avenirs de Villes", Site Alstom, Nancy
"One/And another/About", City Art Museum, Ljubljana
"Second present", Trafo gallery, Budapest
2006
Trajectory1 "The sun on the wall", Exhibition hall "Arsenal", Riga
"Voices of silence", Herzliya Art Museum, Israel
Common Destination, The Drawing Center, New York
2007
"Tanzen, Sehen", Museum fur Gegenwartskunst, Siegen, Germany
2nd Moscow Biennale
VER BAILAR, CAAC Seville
2008
Pereferic-8, Iasi, Romania
Worpswelten, Kunstverein Gцttingen
2009
Another Mythology, NCCA, Moscow
Corpus Extremus, Exit Art, New York
2010
"Factories, plants", Fabrika, Moscow
Ground floor America, Kunstraum Lakeside, Klagenfurt, Austria

Intellectual 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