Path. 1, The White City, opening episode of Path., uses the artist’s live presence; the act of drawing; the transformative potential of travelling; the corporeality of space; and the flow of time, to map and illuminate the artist’s journey.
The work was triggered by the artist’s change of citizenship during a time of charged national conversation on the rights of immigrants in Singapore, his newly adopted country. It took place in the form of live art sessions, as well as an ongoing exhibition of the live art’s corollary-in-progress. The audience was invited to draw together with the artist, throwing rubber balls coated with graphite powder at the paper-lined walls of the gallery. Meanwhile, dodging flying projectiles, the artist recorded his audience’s lines of motion. This communal act of drawing enabled conversation between artist and audience on rootedness, home, and identity.
An installation, a wall lined with graphite frottages on paper that the artist made of his childhood homes in Surakarta, Java, Indonesia and documentary photographs of the process, formed part of the exhibition.
2012. Installation and Live art
Commissioned by The Substation as part of their annual Visual Art Open Call.
2012 Path. 1, The White City, The Substation Gallery, Singapore (solo exhibition)
2014 Louis Ho. FutureGreats Asia 2014, ArtReview Asia Oct-Dec 2014: 85. Print.
2012 Yen Phang. The Present Body: A conversation with local artist Boedi Widjaja. Artitute. 16 Oct 2012. Web. 2012 Zhou Yian Ping. Yellow River Arts Centre Singapore base - Boedi Widjaja’s journey of new paths.Lianhe Zaobao, Oct 2012. Print.
2012 Zehra Jumabhoy. War and Peace artforum. 24 Sep 2012. Web.
2012 Goh KK. Review of Path. 1. Lianhe Zaobao. Sep 2012. Print.
2012 Michele Adriaens. Exhibition: Path. 1 by Boedi Widjaja. culture push. 14 Sep 2012. Web.
2012 Adeline Chia. Watch out for vacuum cleaners, squash balls. The Straits Times. 30 Aug 2012. Print.
Video: 2012. 4:00 min video documentation. Recorded on 22 Sep 2012 at The Substation Gallery, Singapore. Footage by Harry Chew, editing by David Gan.