The trait of multi-genre, the transition from one genre to another, so characteristic of Leiderman, seems to me to be caused by the fact that he, building a particular work within the contours of a certain genre, at the same time always has in mind the critique of this genre (analogous to the critique of ideology), and immediately on two levels – on the horizon of his personal path, his history, and on the horizon of the fate and possibilities of the genre at a particular stage of the development of contemporary art. He creates and comprehends his installations (for example, “The Best and Very Doubtful” etc.) always in a new perspective of perception not only of this specific installation but also of “installation-ness” as a changing aesthetic cosmos. Therefore, the viewer always gets the impression of a “journey to new, unfamiliar places[1]
[1] Monastyrsky A. Literary Objects and other works by Yuri Leidernan /Yuri Leiderman. Ensemblement// Monastyrsky A. – Quimper: le Quartier, 2004. – 144 p. (taken from the Russian original text by A. Monastyrsky)Comment type: Published comment
Author: Andriy Monastyrsky
Bibliography:
Monastyrsky A. Literary Objects and other works by Yuri Leidernan /Yuri Leiderman. Ensemblement// Monastyrsky A. – Quimper: le Quartier, 2004. – 144 p. (taken from the Russian original text by A. Monastyrsky
Sources: Yuri Leiderman. Ensemblement – Quimper: le Quartier, 2004. – 144 p.
