Group Exhibition ShanghART WB Central, Shanghai
ShanghART WB Central is pleased to present solo exhibitions by Boedi Widjaja, Lv Yan, and Zhang Wenxin. This marks each artist's first solo presentation at ShanghART's space in Shanghai. The title The View within the View arises from an inversion of the Chinese term "Feng Jing (landscape)"; while the exhibition takes landscape as a thread, it by no means seeks to merely discuss any Spectacle. "Viewing" implies perception, comprehension, and exploration—the perspective of "the view within the view" carries and fuses personal or collective memories and experiences, and can itself be a sustained action. Though Boedi Widjaja, Lv Yan, and Zhang Wenxin each investigate certain kinds of landscape from distinctly different angles, their dialogues, flowing back and forth, converge toward a shared recognition of "the equality of all things." The exhibitions open on November 14 and continue through January 31, 2026.
This is Singaporean artist Boedi Widjaja’s first solo exhibition in China. On the opening day, he will present his latest performance work "Path. 16, 东邪西毒 I Want to Infect You with History", which follows and evolves from his August performance, part of the Vortex project curated by Jin Feng. The exhibition traces Boedi Widjaja’s Kang Ouw series, ongoing since 2013. Boedi Widjaja reads nature as an archive, inscribes memory and trauma in the embodied scripts of genes and genealogies—tracing dispersal, mutation, and translation as marks of survival; exploring fluid relationships between the natural and the unnatural. For this exhibition, in collaboration with genetic Eric Yap, he employs media such as DNA molecular poetry, nano-bio sculptures, and video to construct an interdisciplinary sensory system. This framework reinterprets "nature" and "origin" as dynamic structures co-generated by memory, technology, and the desire for return.
A winding path through Lv Yan's practice from 2008 to the present connects his early works with recent creations. His paintings narrate rupture and pain through a raw, bodily language; his brushstrokes and erasures retain a strong physicality, sheltering the individual's capacity to persistently feel amidst fissures. His works allow natural imagery to develop a distinctive poetry and rhythm at the threshold of appearance and disappearance. The directness and looseness of charcoal, pastel, and ink intensify this visually extended logic of nature, revealing a resonant circuit between body and the natural world.
Zhang Wenxin simulates the formation and disintegration of a large organic entity through a progressive passageway composed of three chambers. Her new series Inner Vision and Embodied transform artificial materials into Critical Layer resembling biological semi-permeable membranes. Sweep Maze and Trembling Chamber—commissioned by the Peking University Berggruen Research Centre's “Creative Futures” program and first exhibited in The Larva of Time curated by Iris Long—capture the fluttering motion of a butterfly in sculptural form, and use sound particles and the vibration of film to recreate the embodied experience of an insect within its chrysalis. Progressively, viewers are guided into a process of melting back, from life to dissolution, within which new maps of the labyrinth emerge in the inner landscape.
More Pictures:
Facebook
Instagram
WeChat 微信