ALEKSEY BELIAYEV GUINTOVT (B. 1965) Gold Pekin

signed, inscribed in Cyrillic and dated ’A Belyaev Ginovt / 2007 / Krasny Pekin / Moskva’ (on the reverse) susan gold, printing ink on canvas 111 x 91 cm In Red Pekin, Alexey Belyaev-Gintovt constructs a vision of Beijing that is as much an emotional and ideological concept as it is a city. Working in a palette of deep red and gold, the artist transforms the image of the Chinese capital into monumental symbol—where power, memory, and myth converge Red evokes revolution and imperial tradition, while gold adds an aura of sanctity and grandeur that borders on the sacred. Rather than depicting a literal cityscape, the work uses abstraction and archetype. Temples, gates and towers appear as sharply defined silhouettes, arranged like the elements of a staged tableau. Although it references the aesthetics of propaganda, the composition is more elegiac than assertive; not a depiction of a specific place, but a meditation on cultural identity. Belyaev-Gintovt is known for fusing classical symbolism with Soviet monumentalism. Here, he engages in a dialogue between Russia and the East. Red Pekin reflects a shared visual language of revolution and legacy. Its golden, austere and luminous surface suggests an object of veneration — a secular altarpiece that explores the convergence of ideology and spectacle. Born in Moscow in 1965, Belyaev-Gintovt graduated from the Moscow Architectural Institute and emerged in the 1990s as a prominent voice in post-Soviet art. In 2008, he won the Kandinsky Prize for Project of the Year, receiving acclaim and provoking debate for his engagement with Soviet and imperial imagery. His works are held in major Russian collections, including the State Tretyakov Gallery and the Moscow Museum of Modern Art. He explores themes of statehood, memory and cultural inheritance through a highly codified visual language.