Marlboro Men (1998) by Alexander Kosolapov
Silkscreen on Fabriano Paper with Watermarks, 50 x 65.6 cm (19 3/4 x 25 3/4 in.)
Signed (lower right); numbered 14/75 (lower left); unframed
Alexander Kosolapov, the pioneering figure of Sots Art, created the Marlboro Men silkscreen as part of his exploration into the intersection of Soviet ideology and capitalist imagery. The piece is a prime example of his unique approach to blending the two ideological extremes, drawing from both Marxist and capitalist symbols to address the new reality of a post-Soviet world.
The large painting of this design was first executed in 1986, with the silkscreen possibly made after. The work showcases Kosolapov's continued examination of the shifting ideological space that emerged following the dissolution of the Soviet Union. This silkscreen features Lenin and Stalin against the backdrop of the red-and-white Marlboro lettering, blending the imagery of Soviet leaders with the capitalist symbol of consumer culture. The work serves as a striking representation of the ideological themes that shaped Kosolapov’s artistic vision, merging communist and capitalist iconography in a single frame.
This silkscreen was printed on Fabriano paper with watermarks, a high-quality Italian paper known for its durability and texture. Fabriano paper is considered part of Italy's cultural heritage, with its roots tracing back to the 13th century. Renowned for its exceptional craftsmanship, it is regarded as one of the finest papers in the world, often used by artists for important works. The print was produced in J&M Guelman Hand Print Studio in Moscow, a space that became an important venue for the production of limited edition prints by leading contemporary Russian artists. One of the founders of the studio was Marat Gelman, a prominent art dealer and dissident who played a significant role in the development of Russia's contemporary art scene during the post-Soviet period.
Kosolapov's Sots Art was a reflection of his desire to reconcile his upbringing in a society steeped in Marxist ideology with the emerging capitalist influences of the West. Through his work, he invited the viewer to consider the duality of these conflicting systems and their coexistence in the newly transformed world.
Kosolapov’s Reflections on His Work:
"For me, in the post-Soviet ideological space came as in quantum physics curved space in the gravity field. It is like in the famous Einstein's theory of gravity."
"So there was a series of works with a double ideological text—communist and capitalist—who could co-exist in this new gravity field of ideological space."
"When I returned to Moscow after 15 years of absence, in the city center, on Pushkin Square, I saw a big billboard of Coca-Cola, nearby to the newly opened McDonald's."
"The patrimonial stain of the society in which I grew up was infected with Marxist ideology. For each image and symbol, I was destined to see ideologems. In the art of Sots Arte, I saw therapy for myself. I needed to pass a purification rite."
Kosolapov's work in Marlboro Men and other pieces of the Sots Art movement represents an artistic therapy of sorts, allowing the artist to navigate the ideological and cultural shifts of the post-Soviet world. Through this process, he used satire and visual language to strip away the ideological weights of the past while embracing the new capitalist forces that were making their way into Russian society.
