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  • Provenance

    Vilma Gold, London

  • Catalogue Essay

    In their paintings which often quote advertisements and have a ‘billboard’ character in their size, style and content, Vladimir Dubossarsky and Alexsander Vinogradov reveal their attraction to symbols and spaces for the pursuit of happiness in contemporary society. They are particularly fascinated by images of earthly paradise in advertising of the global ‘wellness’ and ‘relaxation’ industry. Removed from their native context, quoted images appear ghostly and uncanny. The ‘atmosphere’ of these zen refuges turns out to be, in fact, a vacuum: it is no coincidence water often substitutes air here, as in an extensive 'Underwater' series done for Russian pavilion at the Venice Biennale of 2003, to which 'Snow' is particularly close.

    In Snow, the dream-like simultaneous presence of cold and warmth, winter and summer suggests an arena of sublimated oppositions. This world of immediately fulfilled desires, with its effective erasure of differences of sexes, ages and seasons, inflicts universal boredom – this is usually the final ‘truth’ about Dubossarsky and Vinogradov’s ‘models of happiness’. The more exuberant these images of fulfilled life are, the more skeptical and even sarcastic artists appear to be. Here, the lonely determined protagonist, whose face remains unseen, half-walks, half-swims in water – in difficult slow motion, without any other purpose than to keep walking, to keep being alive, young, and happy. This is a particularly poignant portrait of contemporary society. - Dr. Ekaterina Degot

404

Snow

2005
Oil on canvas.
76 1/2 x 116 in (194.31 x 294.64 cm).
Signed and dated “Dubossarsky Vinogradov 2005” lower right; signed, titled and dated “Dubossarsky V. Vinogradov A. ‘Snow’ 2005” on the reverse.

Estimate
£30,000 - 40,000 ‡ ♠

Sold for £108,000

The John L. Stewart Collection of Russian Contemporary Art

Collection
13 October 2007, 6pm
London