Nowadays, video and mass media is no longer the carrier of mechanical reproduction. They smash the previous physical experience of people, and then revitalise them, to make modern expression of Scientism to be invalid. Meanwhile, contemporary thoughts still pin their hope onto “red” or “blue” modernism, to make a critical judgment about contemporary society.

Before an exhibition in 2014, Shao Yi had a discussion with young scholar Zhang Wei through annotating the excerpts of Benjamin’s writing “The Work of Art in the Age of Mechanical Reproduction”. Then he made silk printing on the mirror glasses and smashes them in the exhibition space. By using the glass as a metaphor, Shao Yi presented the violence in peaceful daily relationships between flesh and object, body and object, so that to compel the original feeling between human and object.

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These theses brush aside a number of outmoded concepts, such as creativity and genius, eternal value and mystery–concepts whose uncontrolled (and at present almost uncontrollable) application would lead to a processing of data in the Fascist sense. The concepts which are introduced into the theory of art in what follows differ from the more familiar terms in that they are completely useless for the purposes of Fascism; they are, on the other hand, useful for the formulation of revolutionary demands in the policies of art.

Note 神秘性: If it could be forged?
Note 传统概念: Genius vs. Public, how to participate in this game and become the genius?
Note 革命要求: This revolution leads to the control of medium by power, leads to the management and manipulation of desire, like the Ouroboros described by Plato. It tries to devour itself after devours everything.