In his new show, Kosolapov utilizes the legacy of the avant-garde, Dada, the Renaissance and Pop Art. DTM stands for Duchamp, Malevich, Tatlin. In his arrangements, the artist moves these letters/memes/symbols around like chess pieces on a board. Tatlin's Tower (The Monument to the Third International), Malevich's Black Square, Duchamp's Fountain, Avtomat Kalashnikova (AK-47) turn into gymnastics equipment at a girl athletes parade. It creates an intense but invisible erotic tension between Leni Riefenstahl's fascist aesthetics, Soviet girl athletes parades and avant-garde artefacts, which, like the AK, suddenly become the likes of sex toys, gym apparatuses, and symbols.
The erotic confusion between construction, order, and destruction continues in the game of chess setting on the board populated by plaster copies of Duchamp's Female Fig Leaf sculpture. The tension between the poles of life manifests itself in confusion about one's own identity in the Neo-Pop triptych titled What's Wrong With My Skin. In response to the BLM movement, the artist has depicted himself as a POC. The word LOVE embellished by a skull alludes to Warhol, as well as contemporary street art codes, and simultaneously hints at the Baroque vanitas tradition.
The sophisticated virtuosity of arranging themes that are uncomfortable to the consumer is the strongest quality of Alexander Kosolapov's Social Art. The Mona Lisa – VVP portrait does not reveal its essence immediately: it unveils through motion, through prolonged contemplation of masterfully applied layers of paint. It would be worth mentioning an idea, brought up by Susan Sontag in her collection of essays, On Photography – that an artist draws analogies from the most dissimilar things.