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It's the Real Thing
Inspired by American pop art of the 1960s, sots art emerged in the Soviet Union during the 1970s. Both movements used irony, parody, and mockery to expose the core elements of their societies -- in the United States, consumerism, and in the USSR, communist ideology. It's the Real Thing is the catalog of a landmark exhibition in which the work of pre- and post-perestroika sots artists was exhibited together for the first time in the United States at the Frederick R. Weisman Art Museum in Minneapolis. Sots art was originally produced in Moscow by nonofficial Soviet artists who grew up in the 1960s. Strongly influenced by propaganda art, they still remembered the aura of sanctity that had surro...
Sots Art
A look at a unique style that combines socialist realism and pop art.
Endquote
Sots-art, the mock use of the Soviet ideological clichés of mass culture, originated in Soviet nonconformist art of the early 1970s. An original and provocative guide, Endquote: Sots-Art Literature and Soviet Grand Style examines the conceptual aspect of sots-art, sots-art poetry, and sots-art prose, and discusses where these still-vital intellectual currents may lead.
Alexander Kosolapov
Alexander Kosolapov is one of the most remarkable go-betweeners of contemporary art, a nomadic presence across ideologies and cultures and a hero of Russian Conceptualism alongside Ilya Kabakov, Boris Mikhailov and Dmitri Prigov. In 1973, he cofounded the Sots-Art movement, which satirically conflated Soviet and American capitalist iconographies; in 1975 he relocated to New York, remaining there for 30 years and immersing himself in the American art scene. Dovetailing Russian political art with American Pop, Kosolapov created such well-known images as the Lenin Coca Cola (1985), Malevich Marlborough and Lenin McDonald's. In his most recent works, Kosolapov proposes new, nonexistent brands for post-Soviet Russia. This substantial survey appraises the entirety of his career to date.
Sots Art
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Sots Art
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Russian Postmodernist Fiction
This text offers a critical study of postmodernism in Russian literature. It takes some of the central issues of the critical debate to develop a conception of postmodern poetics as a dialogue with chaos and places Russian literature in the context of an enriched postmodernism.
The Museological Unconscious
The history of contemporary art in Russia, from socialist realism to the post-Soviet alternative art scene. In The Museological Unconscious, Victor Tupitsyn views the history of Russian contemporary art through a distinctly Russian lens, a "communal optic" that registers the influence of such characteristically Russian phenomena as communal living, communal perception, and communal speech practices. This way of looking at the subject allows him to gather together a range of artists and art movements--from socialist realism to its "dangerous supplement," sots art, and from alternative photography to feminism--as if they were tenants in a large Moscow apartment. Describing the notion of "communal optics," Tupitsyn argues that socialist realism does not work without communal perception--which, as he notes, does not easily fit into crates when paintings travel out of Russia for exhibition in Kassel or New York. Russian artists, critics, and art historians, having lived for decades in a society that ignored or suppressed avant-garde art, have compensated, Tupitsyn claims, by developing a "museological unconscious"--the "museification" of the inner world and the collective psyche.
Sokov
Leonid Sokov's name is associated with Sots Art, one of the most influential developments within Soviet nonconformist culture that mocked the regime's efforts to control all forms of creative expression.While some Sots artists examined societal attitudes and the hollow authority of Soviet power, Sokov addressed the monotony and deprivations of daily life.He applied strategies developed in Sots Art to a broader cultural context, juxtaposing traditional images of Russian culture with popular cultural myths of both communist Russia and capitalist America.Sokov's multi-layered visual and verbal puns provide the viewer with a deeper insight into contemporary culture, politics, and life in general.
The Red Atlantis
For most of the twentieth century, American and European intellectual life was defined by its fascination with a particular utopian vision. Both the artistic and political vanguards were spellbound by the Communist promise of a new human era—so much so that its political terrors were rationalized as a form of applied evolution and its collapse hailed as the end of history.The Red Atlantisargues that Communism produced a complex culture with a dialectical relation to both modernism and itself. Offering examples ranging from the Stalinist show trial to Franz Kafka's posthumous career as a dissident writer And The work of filmmakers, painters, and writers, which can be understood only as crit...
