479 - GINO SINIGAGLIA 1937 Moscow – 1997 ibid. “LET’S HAVE A BLAST!” Dated 1972. Oil, ink, and assemblage on canvas mounted on cardboard. 50 x 70 cm. Signed in Cyrillic lower right 'G.S.'; on the reverse: signed in Cyrillic and dated. This work is a characteristic example of Sinigaglia’s assemblages, in which historical objects are brought together to form a new, associative composition. Here, the artist combines three Imperial Russian banknotes—50 rubles (1899), 25 rubles (1909), and 3 rubles (1905)—a menu from the “Ermitage” restaurant (St. Petersburg, 1910) —a symbol of the twilight of the Silver Age, where Chekhov, Dostoevsky, and Tchaikovsky dined—four playing cards, and a ribbon, all united under a hooligan-like, ironic slang inscription that transforms nostalgia into criticism. a provocative, ironic inscription in colloquial slang that transforms nostalgic Gino Sinigaglia—a Russian-Italian avant-gardist, member of the group “21 Moscow Artists,” and a representative of Moscow’s unofficial art scene during the Soviet postwar period. After completing his studies, he developed an expressive artistic language independent of Socialist Realism and participated in numerous underground exhibitions, including the legendary “Bulldozer Exhibition” of 1974. He called himself an artist-archivist, incorporating into his works genuine historical artifacts that he had preserved during the Soviet era, risking his freedom in the process. Five paintings by Gino Sinigaglia are in the collection of the Moscow Museum of Modern Art (MMOMA), which he preserved during the Soviet era at personal risk. Five works by Gino Sinigaglia. Provenance: Gino Sinigaglia Archive.

GINO SINIGAGLIA 1937 Moscow – 1997 ibid. “LET’S HAVE A BLAST!” Dated 1972. Oil, ink, and assemblage on canvas mounted on cardboard. 50 x 70 cm. Signed in Cyrillic lower right 'G.S.'; on the reverse: signed in Cyrillic and dated. This work is a characteristic example of Sinigaglia’s assemblages, in which historical objects are brought together to form a new, associative composition. Here, the artist combines three Imperial Russian banknotes—50 rubles (1899), 25 rubles (1909), and 3 rubles (1905)—a menu from the “Ermitage” restaurant (St. Petersburg, 1910) —a symbol of the twilight of the Silver Age, where Chekhov, Dostoevsky, and Tchaikovsky dined—four playing cards, and a ribbon, all united under a hooligan-like, ironic slang inscription that transforms nostalgia into criticism. a provocative, ironic inscription in colloquial slang that transforms nostalgic Gino Sinigaglia—a Russian-Italian avant-gardist, member of the group “21 Moscow Artists,” and a representative of Moscow’s unofficial art scene during the Soviet postwar period. After completing his studies, he developed an expressive artistic language independent of Socialist Realism and participated in numerous underground exhibitions, including the legendary “Bulldozer Exhibition” of 1974. He called himself an artist-archivist, incorporating into his works genuine historical artifacts that he had preserved during the Soviet era, risking his freedom in the process. Five paintings by Gino Sinigaglia are in the collection of the Moscow Museum of Modern Art (MMOMA), which he preserved during the Soviet era at personal risk. Five works by Gino Sinigaglia. Provenance: Gino Sinigaglia Archive. GINO SINIGAGLIA 1937 Moscow – 1997 ibid. “LET IT RIP!” Dated 1972. Oil, ink, and assemblage on canvas marouflaged onto cardboard. 50 x 70 cm. Signed “G.S.” in Cyrillic in the lower right corner. Verso: Signed and dated in Cyrillic. The work is a characteristic Sinigaglia assemblage in which historical objects are combined into a new, associative composition. Here, the artist combines three tsarist banknotes—50 rubles (1899), 25 rubles (1909), and 3 rubles (1905)—a menu from the “Ermitage” restaurant (St. Petersburg, 1910)—a symbol of the twilight of the Silver Age, when Chekhov, Dostoevsky, and Tchaikovsky were regular guests—four playing cards, and a bow. The composition is held together by a provocative, ironic inscription in colloquial slang that transforms nostalgic reminiscences into critical reflection. Gino Sinigaglia—a Russian-Italian avant-garde artist, member of the group “21 Moscow Artists,” and representative of the unofficial Moscow art scene of the postwar Soviet era. After completing his studies, he developed an expressive visual language independent of Socialist Realism and participated in numerous underground exhibitions, including the legendary “Bulldozer Exhibition” of 1974. He described himself as an “artist-archivist” and incorporated authentic historical artifacts into his works, which he had preserved during the Soviet era at personal risk. Five works by Gino Sinigaglia are in the collection of the Moscow Museum of Modern Art (MMOMA). Provenance: Gino Sinigaglia Archive.