- Vital Dates
- 1985 - 1999
Artistic tandem by Oleh Petrenko and Liudmyla Skrypkina. The group "Pertsi" - bright representatives of Odesa conceptualism. In the middle of 1980s, The Pertsi moved to Moscow, where they worked at squats on Furmannyi lane and Chistoprudny boulevard. In 1995, they founded “Palto” gallery together with Oleksandr Petrelli. In 1999, the group ceased to exist.
- Bibliography Yuriy Leiderman. The Pertsi: Aesthetics of Continuation Fedir Romer. The Pertsi Yuriy Leiderman. Those who Wandered in the Surf
Yuriy Leiderman: “Works of The Pertsi from the huge cycle “Popular Science Art” are pure duration, pulsation of various tables: elementary particles, magic squares, gynecological secretions. And all of these are “stretched” on some random surfaces – a saucepan, a washstand, a dress, a plate with holes. Something that is initially flat, which is represented in three dimensions, and representable in general (same as in Anufriev’s works) without a clear purpose, just because “it is necessary” (“for the art”? “for Moscow”?). In fact, it doesn’t require anything but its own twitching continuity”.
Yuriy Leiderman. Those who Wandered in the Surf Fedir Romer: “The Pertsi are good precisely because they create some chimerical objects, as if born in the depths of a crazy communal flat (was the communal life mentally stable, though?), and decorate them with tables, formulas, and other simulations of science. This results in a certain Soviet surrealism – a kettle boiling with green peas, some hospital flasks corked with potatoes, an accordion with a book instead of windbags. Of course, they did everything according to science (calculations attached), but the result is devil knows what!”.
Fedir Romer. The Pertsi Andriy Monastyrskyi: “…when The Pertsi came to me with their works, Kabakov came around as well, and they were showing the slides they’ve brought along from Odesa. And the reaction was completely different. Kabakov started to scold them: ‘These works are horrible, how do you even dare to create something like that’. I don’t remember well, but those were some kind of Moscow works – some decorative landscapes from Korea. That is, they did not enter like Yura or Anufriev, for instance, and they weren’t accepted at once. IN a couple of years, things changed for The Peppers, and then Kabakov took me and Feldman to their workshop somewhere on Furmannyi lane, when they began to create the tables”.
Andriy Monastysrkyi. Interview