Abstract
The paper presents an interesting figure on the contemporary Russian art scene - Pavel Pepperstein, the artist who, in his sensitive drawings, integrates popular signs with an imaginative text thus subverting the usual deployment of symbols of global culture. Ever since the cycle Political Hallucinations, Pepperstein has been playing consciously with 'big stories', inherited from historical, ideological, cultural and artistic tradition, through parody and with the help of irony, setting their fragments into utopian spaces and distant future, including one of his more recent projects - Russian City, in which he even tried to blend utopia with everydayness. Pepperstein's work, in a way, presents a continuity of artistic happenings in Moscow in the 70s, which Grois has named 'romantic conceptualism', through the 90s and the Medical Hermeneutics group's activities (Pepperstein was one of the founding members), whose parodic and almost Dadaistic artistic gestures have been defined as 'infantile conceptualism'.
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