Introduction

Boedi Widjaja's (b. 1975, Indonesia/Singapore) practice contemplates on house, home and homeland through long-running, interdisciplinary series developed in parallel. His approach is often autobiographical and oblique. Drawing as method is a defining element in his practice; expressed through diverse media from experimental photography and architectural installations to bio art and live art, with an emphasis on process and bodily engagement. Widjaja was trained in architecture and has worked in graphic design.

Widjaja received the inaugural QAGOMA and Singapore Art Museum co-commission for his Black–Hut series, presented at the 9th Asia Pacific Triennial (2018-19) and the 6th Singapore Biennale (2019-20). His works have been included in international group shows such as Thailand Biennale: The Open World, Chiang Rai, Thailand (2023); Cladogram: KMA’s 2nd International Juried Biennial, Katonah Museum of Art, New York (2021), in which he was awarded First Prize; MAP1: Waterways, Diaspora Pavilion, 57th Venice Biennale (2017); Jerusalem Biennale (2017); Yinchuan Biennale (2016); From east to the Barbican, Barbican, London (2015); Infinity in flux, ArtJog, Indonesia (2015); and Bains Numériques #7, Enghien-les-Bains, France (2012) amongst others. Recent solo exhibitions include Kang Ouw《侠客行》(2022), Esplanade Tunnel, Singapore; Declaration of (2019), Helwaser Gallery, New York; Rivers and lakes Tanah dan air (2018), ShanghART Singapore; and Black—Hut (2016), Singapore Biennale Affiliate Project, ICA Singapore. He was an Artist-in-Residence at the NTU Centre for Contemporary Art Singapore, Temenggong Singapore and DRAWinternational France.