Path. 12, River Origin 浪淘沙
Chinese
行星危機要求我們重新審視真實日常，探索能擴大我們對世界理解的詩學。全球大流行正尖銳地將我們指向無形的事物，深深地烙印著我們。在《Path. 12, River Origin 浪淘沙》計畫中藝術家 Boedi Widjaja 用他的身體感知渺子（muon）到達地球——藉由作品表達他的散居宇宙觀中的宇宙和物質思考。
當宇宙射線穿過星系和我們的太陽系，撞擊大氣層時，渺子會在地球上散射。它們類屬亞原子，每一秒，每個渺子穿過你的手掌；每天晚上，穿過你的身體一百萬次——渺子與你的跨越接觸，呈現出不可思議的距離。以相對論速度傳播的短暫渺子，它具有 156 萬分之一秒的半衰期，存在於時間膨脹的空間中，不受時間限制來接觸地球。
《Path. 12, River Origin 浪淘沙》(2012 - ) 作品延續藝術家 Boedi Widjaja 過去作品描繪歸屬、移動和孤立的移民觀念的系列，將現地藝術折疊成廣泛的藝術成果。藝術家 Boedi Widjaja 將佩戴一個用渺子追踪器（muon tracker）在新加坡的多個地點感應渺子，並定位所創造出的框架讓放射性宇宙移民於此進出。此次藝術家在BIO:ART SEA:T 計畫中將以錄像呈現作品。
計畫部分由新加坡國家藝術委員會創作補助和 Exactly 基金會支持。
English
The planetary crisis calls for a relook at reality, and to explore poetics that expand our understanding of the world. The global pandemic, in particular, is pointing us sharply towards the invisible that nonetheless marks us deeply. In Path. 12, River Origin 浪淘沙, Boedi Widjaja senses with his body the arrival of muons (渺子) on Earth - a cosmic and corporeal contemplation of his diasporic cosmology.
Muons (渺子) scatter over Earth when cosmic rays travel through the galaxies and our solar system, to crash into the atmosphere. They are subatomic. Every second, a muon passes through your palm; every night, a million through your body - a muonic touching with an inconceivable distance crossed. With a half-life of 1.56 millionth of a second but traveling at relativistic speed, the ephemeral muons live in the strange reality of time dilation. Mouns escape chronos time to touch Earth.
Path. 12, River Origin 浪淘沙 continues Widjaja’s long-running Path. (2012 - ), a series that speaks to migratory notions of belonging, movement and isolation; folding Live Art into wide-ranging artistic outcomes. Path. 12 sees Widjaja sensing muons at several locations in Singapore. Widjaja will wear a muon tracker built with geiger counters, marking the entry of the radioactive cosmic migrants through his frame. The artist’s performance for the camera will be presented as video for BIO:ART SEA:T.
Partly supported by the National Arts Council (Singapore) Creation Grant and Exactly Foundation.
BIO
Chinese
基於過往於移民和散居者背景，Boedi Widjaja（印尼/新加坡）的藝術實踐表達了對移民、記憶、空間關係和跨文化混合的微妙反思。同時，建築師與平面設計的的訓練背景——其技術、材料和工具——已成為 Widjaja 藝術實踐的決定性元素，運用多樣的媒體，如攝影、新媒體到建築裝置和現地藝術，並強調過程和身體參與。 Widjaja 獲得了首屆新加坡藝術博物館和 QAGOMA 聯合委員會的 Black-Hut, Black-Hut (2018-19)、第九屆亞太三年展和第六屆新加坡雙年展。他的作品在幾個國際展覽中佔有突出地位，包括 Radical Ancestry, FACT, Liverpool （即將舉行）； Cladogram: 2nd KMA International Juried Biennial, Katonah Museum, New York (2021); MAP1: Waterways (2017), Diaspora Pavilion, 57th Venice Biennale; Yinchuan Biennale (2016); and From east to the Barbican (2015), Barbican, London. 他個人的展出則如 Declaration of (2019), Helwaser Gallery, New York City; Rivers and lakes Tanah dan air (2018), ShanghART Singapore; 與 Black—Hut (2016), Singapore Biennale Affiliate Project, ICA Singapore。
English
Driven by first-hand experiences of migration and diaspora, the practice of Boedi Widjaja (b. 1975, Indonesia/Singapore) articulates subtle reflections on migration, memory, spatial relations and cross-cultural hybridities. Trained as an architect and with a background in graphic design, the techniques, materials and tools of drawing have become a defining element of Widjaja’s artistic practice. This is expressed through a broad range of media, from photography and new media to architectural installations and Live Art, with an emphasis on process and bodily engagement.
Widjaja was recipient of the Singapore Art Museum and QAGOMA co-commission for Black—Hut, Black—Hut (2018-19), for the 9th Asia Pacific Triennial and the 6th Singapore Biennale. His works were featured prominently in several international exhibitions, including MAP1: Waterways (2017), Diaspora Pavilion, 57th Venice Biennale; Jerusalem Biennale (2017); Yinchuan Biennale (2016); From east to the Barbican (2015), Barbican, London; Infinity in flux (2015), ArtJog, Indonesia; and Bains Numériques #7 (2012), Enghien-les-Bains, France. His solo exhibitions include: Declaration of (2019), Helwaser Gallery, New York City; Rivers and lakes Tanah dan air (2018), ShanghART Singapore; Black—Hut (2016), Singapore Biennale Affiliate Project, ICA Singapore; Path. 6, Unpacking my Library 。书城 (2014), Esplanade, Singapore; and Sungai, Sejarah 河流, 历史, 源 (2012), YRAC S-Base, Singapore.