THE IRONY OF SOCIAL REALISM: SOTS-ART AS AN EARLY STAGE OF RUSSIAN POSTMODERNISM
Journal Title: The Journal of International Social Research - Year 2017, Vol 10, Issue 52
Abstract
Socialist art, which is shortly known as Sots-art is an art movement derived from the reality of Social realism by the late 1950's. The term was first used in 1972 by the artists Vitaly Komar and Alexandr Melamid to define the brand-new Russian pop-art as an alternative to American pop art. Sots-art is an ironic expression of oppresive social realism, therefore, allegorically approaches to Soviet totalitarism using typical Soviet discourses. Sots-art is quite closely related to Moscow (Russian) Conceptualism, namely share similar grounds and therefore usually associated to it. One can say with certainty that both of them share the same views on art such as destroying the classic sense of art and creating a new art form. Sots-Art is also closely related to postmodernism, not only in terms of sense, but also technically. The movement makes use of postmodernism’s beloved techniques like deconstruction, intertextuality and other rhetorical devices to release his voice. In this respect it is regarded as an essential component of Russian conceptualism and postmodernism. Having known that Soviet discourses played a crucial role in Soviet society’s memory, Sots-artists took advantage of its plain but picturesque language and inverted it to an Anti-Soviet art using the slogans and expressions that are inherent in them. Sots-art, as an art movement is tend to reconsider and reevaluate the Soviet past by defamiliarizing, estranging socialist clichés. The reflections of this estrangement can be seen both in art and literature; especially in the works of Ilya Kabakov, Erik Bulatov, Dmitrri Prigov, Lev Rubinstein and Vladimir Sorokin. The history of Sots-art movement, its’ features and correlation with Russian postmodernism are examined and discussed in this paper.
Authors and Affiliations
Orçun ALPAY
Keywords
Related Articles
- EP ID EP256184
- DOI -
- Views 140
- Downloads 0
THE MEANING PROBLEM AT CONCEPTUAL ART
The spiritual senses regarding the reason of the existence of the art always has a tendency to alter the concepts which are the object of the idea against the senses. The work of art that gains the existence of structur...
PRISONS AND PRISONERS IN HUDAVENDIGAR PROVINCE (1914-1917)
The attempts to improve the circumstances of prisons, which began in Tanzimat Era and continued in the reign of Abdulhamid II, were conducted more systematically by “Young Turks”. In this context, their existing states w...
CANVAS OF GALLIPOLI
In the 17th century, local canvas producers under the auspices of the Ottoman state were in a position to compete with European industrialists. The Gallipoli people have maintained have woven canvas for hundreds of years...
MUHAMMED FEVZÎ’NİN MİFTÂHU’N-NECÂT ADLI ESERİ (Kasîde-i Bürde Tahmis ve Şerhi)
Hz Peygamber’i medhetmek için yazılmış önemli şiirlerden biri Muhammed Busîrî tarafından kaleme alınan ve kaynağı Hz. Peygamber zamanında yaşamış sahabilerden Ka’b bin Züheyr’e dayanan Kasidetü’l-bürde’dir. Busîrî’den so...
SOCIAL AREA ANALYSIS OF BARBER AND CHANGES: A MICRO LEVEL STUDY OF BOLPUR TOWN, WEST BENGAL, INDIA
India is a vivid experienced country about social stratification and differentiation. Since the Empire of Ballal Sen (king of Gour during middle of 12th century AD) this discrepancies was generated in Bengal’s society an...