Boedi Widjaja

Boedi Widjaja’s (b. 1975, Indonesia) practice contemplates the ideas of house, home and homeland; engaging with the space and politics of belonging through agencies of the body, memory and language. He develops a plural visual language by working on long-running series in parallel across media, from bio art and live art to experimental photography, film and architectural installations, with an emphasis on process and poetics. Boedi was trained in architecture and design.

Boedi received the inaugural QAGOMA and Singapore Art Museum co-commission for his “Black–Hut” series, presented at the 9th Asia Pacifi c Triennial (2018-19) and the 6th Singapore Biennale (2019-20). He has exhibited at Yuz Museum, Shanghai (2024-25), National Art Gallery, Singapore (2023-24), FACT, Liverpool (2021-22), Katonah Museum, New York (2021), ArtJog, Yogyakarta (2015); and solo presentations at ArtSG Platform, Singapore (2024), the Esplanade, Singapore (2022 and 2014), Helwaser Gallery, New York (2019), ShanghART Singapore (2018-19) and LaSalle’s ICA, Singapore (2016). He has participated in Art Field Nanhai (2024-25), Thailand Biennale (2023-24), Indonesia Bertutur (2024), the Diaspora Pavilion (Live Art), 57th Venice Biennale (2017) and Yinchuan Biennale (2016). Boedi is represented by ShanghART.

Boedi Widjaja is presenting his film Path. 13, Quaver Cipher at OFF Focus 2025: Everything in its Time 

Path. 13, Quaver Cipher is a film that follows an explorer’s search for his pluralistic cultural beginnings. Led by his conversation with muons – cosmic ray particles that travel across galaxies to reach Earth, he journeys into mythic realms and higher-dimensional spaces.

Performing for the camera, Boedi Widjaja interacts with atmospheric muons with his custom-built sensor—a working instrument made of double geiger-counters and an open-source algorithm—in a multidisciplinary work that enfolds performance, algorithmically processed poetry, CGI, and experimental photography. To make the film, Boedi developed a photographic method to manifest the presence of invisible muons; and the images were described by renowned muography scientist Professor Hiroyuki Tanaka, University of Tokyo, as the world’s first fine art muography that he has seen.

The work continues Boedi’s decade-long research into body, memory, language and encoding, informed by the intercultural liminality of his migrant experience.