Leiderman from the very beginning of my acquaintance with him, somewhere around 1983, immediately declared himself as a completely independent artist. In his early works, there is nothing “apprentice-like” or imitative, as if there is no “school.” I remember the strongest impression made on me by his work “Fork-Automatic” – a photograph in which Leiderman dials a number on the dial of a payphone with a fork. This impression immediately settled on the level where I had impressions from the best works of Aconchi or Chris Burden. His “aesthetic contacts” with everyday and ideologized carriers (and practically all objects of the Soviet era were one way or another ideologized, “state standardized”) – such as, for example, school notebooks, which he used in a large series of works, always generated some unknowable discursive “residue.” This was not just a radical artistic gesture, but precisely work on deep aesthetic levels, as a result of which aesthetic discourses arose. And this result of unknowability, incompleteness was, in my opinion, the most valuable result of his works. These discursive grids of aesthetic eventfulness gave the opportunity to see something, to feel through them, new spaces, new possibilities were constantly generated.[1]
[1] Monastyrsky A. About Leiderman [Electronic resource] / Andrey Monastyrsky. – 2004. – Access mode to the resource: file:///C:/Users/User/Desktop/Leiderman_Profile_20160407_by_Zhmurko/Bibliography/Monastyrskiy_O_Leidermane.webpage.html.Comment type: Published comment
Author: Andriy Monastyrsky
Bibliography:
Monastyrsky A. About Leiderman [Electronic resource] / Andrey Monastyrsky. – 2004. – Access mode to the resource: file:///C:/Users/User/Desktop/Leiderman_Profile_20160407_by_Zhmurko/Bibliography/Monastyrskiy_O_Leidermane.webpage.html.
Sources: Yuri Leiderman. Ensemblement – Quimper: le Quartier, 2004. – 144 p.
