(0 bids, reserve not met)
2 days, 22 hours
2 days, 22 hours
September 21, 01:48 PM (GMT)
September 21, 01:48 PM (GMT)
signed in Cyrillic and dated 976 - 979 across the top of the two central parts
oil and tempera on canvas and plywood with wood and plaster in metal frames
Overall: 196 by 263cm, 77 by 103½in.
The work consists of two central canvases and 24 smaller panels. Each of the small panels is individually framed and the whole work is held in a metal frame. Some of the panels on the right have slightly come out of their frames. There is craquelure in places, most notably to the lower right corner of the large panel on the right. The same panel has a protrusion with an associated paint loss to the upper right edge. Scratches, abrasions and minor losses are scattered in places. The metal frames show scratches, dents and staining. There is a general layer of surface dirt and dust and the varnish has discoloured. Inspection under UV light reveals minor spots of retouching to the panel with the star on the left, to the one just below as well as to the fourth panel from the left in the bottom row.
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.
Exhibition catalogue Labyrinth: neue Kunst aus Moskau, Hamburg: COCON, 1989, p.45 illustrated
Exhibition catalogue Sergej Volokhov. Dialoge 1960-2010, Braunschweig: Ruth, 2010, p.25 illustrated
Roseburg, Schleswig-Holstein, Wotersen Castle, Labyrinth: neue Kunst aus Moskau, 1989
Berlin, Galerie Sandmann, The Thaw and the Time After – Moscow Artists 1958-2008: Part II Komar & Melamid and Sergej Volokhov, 2009
Salzgitter, Kunstverein Salzgitter e.V., Sergej Volokhov. Dialoge 1960-2010, 8-29 August 2010
Two years after his graduation from the Moscow Pedagogical Institute in 1965, Sergei Volokhov exhibited at the Blue Bird (Sinyaya ptitsa) café alongside Vitaly Komar and Alexander Melamid, future Sots Art pioneers. In 1968-1969 Volokhov worked at Vladimir Weisberg’s studio and in 1974 he was among the participants of the Bulldozer exhibition, a seminal event in the history of unofficial Soviet art.
Russia consists of 26 individual parts, with the overall composition reminiscent in its form of Orthodox hagiographical icons. The central image shows the body of a pregnant woman curled up over a map of the Soviet Union, surrounded by light bulbs and pages from the Soviet constitution, alluding to Lenin’s famous 1920 slogan ‘Communism is Soviet power plus the electrification of the whole country’. With words including ‘fear’, ‘government’ and ‘vanity’ surrounding the harrowing central image, the work acts as a contemplation on the fate of the Bolsheviks’ utopian ideas.
In its aesthetic and the questions it addresses, Russia can be compared to Komar and Melamid’s iconic The History of the USSR from the mid-1970s. Yet, unlike the infamous Sots Art duo, who emigrated from the Soviet Union shortly after completing the work, Volokhov remained in the country throughout the 1970s and 1980s. He was forced to hide Russia from the Soviet authorities for several years, until it was exhibited at Wotersen Castle in Germany in 1989. Russia was subsequently shown at Galerie Sandmann in Berlin in 2009 and at Volokhov’s retrospective exhibition at the Kunstverein Salzgitter in Germany in 2010.