A
All these are residues. They are motivations produced during the production of other things. They come from the waste of other "missions" and aren't derivatives. The conceptual link to their original work is cut off. It's like a side road, a branch that is even larger and wider than the main body.

B
In terms of the alienation of production relations, the scale production of contemporary art is no different from that of capitalism: The line of creation from a concept to production followed by interpretation is a kind of production system whereas an artwork is simply a product. What we need to criticize is not the production material that can be merchandised, but the institutionalized relations of artistic production. The strategy of residues is also a way to bypass such a trap.

C
Opposing the systemization of artists is for me the beginning of self-institutionalization. Concepts have already become the most important tool of such a process; it acts like the elite political media but possesses actually no essential difference compared to the mass media. They are merely in parallel. The creation of contemporary art becomes finally the same as these political relations: You get digested by your own creation, which becomes a new type of system to rule you.

D
The form comes from the copying of aesthetics of Modernism, where the handwork was to imitate the machinery and the ideas the geometry. There is nothing more suitable than the imitation of minimalism. The smooth abstract sense is always troubled by the traces of labor. I call this "obsessive-compulsive disorder of flaws".  

E
How is the proletariat defined in China? Put the former version aside, here it refers especially to the empty-handed people in that political form. People serving temporary systems and aesthetics are everywhere. They are those who are dissatisfied but see no other way.

F
Birds and flower landscape, if put loosely, contains the "surplus emotions" of the intelligentsia. Either the improvement of aesthetic tastes or the attempt of expression borrowing inanimate objects, obviously sides dishes served to subjective consciousness. But what about the proletariat? They learn it as art, very cautiously, just like people in interest groups and adult universities.

(The above statement is not sorted according to a certain sequence)  

Translated by Andrea Keller
Proofread by Sachiel Yuu