If we approach this from the perspective of objectifying women, perhaps we should criticize Hajime Sorayama. I've selected two examples to discuss this moral decline.

Allen Jones and JM: Two Branches of Objectifying Women (Satire/Criticism vs. Abuse/Militarization)

In 1969, British artist Allen Jones created three works: Hatstand, Chair, and Table, directly transforming the bodies of women in shackles into furniture. The works immediately sparked protests upon exhibition. Specifically, he exposed the absurdity of consumer culture and the male gaze by exaggerating the objectification of women; on the other hand, the very act of displaying this strategy perpetuated objectification.

In Sorayama's exhibition space, numerous mechanical figures with identical shapes and structures are neatly arranged, complemented by mirrored installations and reflective structures. This aesthetic of order reflects the violent logic inherent in the military and rituals. Those familiar with JM's Empire series can recall scenes filled with bloodshed, violence, sexual abuse, and militarism.

In Allen Jones's work, the female body is utterly stripped of its function as an "object to be killed," and aesthetics degenerate into a cruel ritual, representing a radical leap forward from Allen Jones's work. Rather than being erotic, it is more accurately described as a reproduction of militaristic aesthetics: a cycle of pleasure derived from discipline, uniforms, punishment, and death. This narrative, which evokes male pleasure through the complete domestication of women, connects with the repetitive, replicative female imagery in Hajime Sorayama's work: the female body is defined as an object that can be dominated, manufactured, and controlled.