Kuzma Vostrikov & Ajuan Song

 Andy Warhol was the first Don Quixote of the digital revolution, a Che Guevara of computer networks, taking their eight-hour movie about a sleeping individual. The master naively believed that he could win Facebook and Instagram with the analog lm grain, to resist the invasion of the exabyte civilization. A romantic scientist, he invented the last anti-bike antibiotic on the Earth, challenging the robots!

 In some ways, he succeeded. Fifteen minutes of fame, it looks like an eternity: now during this time you can be born, to be educated, to live slowly and beautifully, and curl up in the grave. What kind of morals!

 Mao was Andy Warhol’s brother in the strict sense. And he was his antiparticle, his confrontation—in more figurative one. In the artistic aspect, an ideology—is the art antimatter. Money is the newly-born in the twentieth century antimatter of time.

 Now, if we connect all these terms, it becomes clear why Warhol was cranking out portraits of Mao and other participants of the graceful public scene. It was still local photography, an attempt to equilibrate opposing each other within a large family. In classical physics, this is called Newton’s third law. The heroes were from the same era and imitated each other, distributing combinations of entropy within their characters. Mao wanted his fifteen minutes of fame. Warhol was jealous of authoritarianism. That’s the way the history of revolutions and arts has been made up.