Property from a Dutch Private Collection
Russian, b. 1974
signed Belkina and numbered 8/9 lower right; with the artist's studio label on the reverse
chromogenic print; edition 8/9, 2011. Printed in 2013.
unframed: 93 by 130cm., 36½ by 51in.
framed: 94 by 130.5cm., 37 by 51¼in.
This work has been examined under glass.The artist's sheet appears to be in very good condition, colours are strong and vibrant.
This work is in very good original condition and is ready to hang
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
From the series Empty Spaces, conceived in 2011.
In the series Empty Spaces the human individual has become lost in the urbanized and anonymous outside world and has adapted itself in existential isolation to the barren landscape of materialism. Depicted in these compositions is the urban metropolis that is Moscow – skyscrapers, chimneys, towers, trains. The tranquil expression of the main figure contrasts sharply with the anonymous commotion of the rigid background. This incongruity, together with the title of the series, points to the fact that a different space is involved here and that these works are actually portrayals of perceived reality. Belkina works very meticulously. Her photographs are pinpoint sharp and the manipulation of light and her colour choice are deliberate. Nothing is left to chance. Her knowledge of digital technology is key to representing her reality.
Belkina uses the metropolis as a metaphor for the worldly; she sees the urbanized world as an artificial phenomenon and purely materialistic, with humanity a tiny dot in this engineered unit. In The Road (see following lot) the shelter of the car seems to be a relaxed spot to find a comfortable niche even in the space of the city. Looking out over the city changes the situation for the viewer, however; the driver seems to be looking out into space, but in the rear-view mirror we are encountering her gaze. Are we seeing into her inner world? In Red Moscow the gaze is more direct and defiant. In contrast to The Road she is not driving. Instead she fixes the viewer with her gaze and seems to statically converge into her surroundings, while the setting sun colours the Moscow skyline blood red.