Yevgeniy Fiks, ‘Magnitogorsk Guide to the National Gallery of Art:  Perugino, The Crucifixion’, 2011, Galerıe Blue Square

Digital prints on metal document the absurd reality of the Soviet First Five Year Plan and its relation to the Mellon collection of paintings in the National Gallery of Art. By the end of 1931, masterpieces purchased by Andrew Mellon from the Hermitage Museum became the foundation of the National Gallery of Art’s collection. Proceeds from these sales contributed to the industrialization of the Soviet Union, which in turn, became the eventual ideological enemy of the United States.

Signature: on reverse

Publisher: artist

About Yevgeniy Fiks

Yevgeniy Fiks is known for creating works that, in his own words, re-examine the Soviet experience though the “lens of the left side of politics.” Fiks removes images from their original context and, consequently, from the bias of their creators, often using popular symbols and imagery to examine how Soviet culture has been portrayed both from within and by the West. In Songs of Russia #10 (2005), he painted a black-and-white picture recalling classic American films in which Russians were frequently stereotyped; the trademark of the global American Film Distributor MGM is added to “brand” the picture. Fiks is open with his criticism of both Socialist and Western Governments, and he has described his work as a reaction to the “collective amnesia” in the post-Soviet space and the “repression of history” he identifies in the American Left.

Russian, b. 1972, Moscow, Russia, based in New York, New York