A Glimpse of the Infinite

Three works by artist Wang Jianwei will be featured on May 30, 2026, in the inaugural Shenzhen Art and Technology Biennial (SATB): “A Glimpse of the Infinite,” the opening exhibition at the Shenzhen International Museum of Art (SIMoA).

The exhibited works include sculptures and paintings. Among them, the two sculptures  Emergence No. 2  (2020) and  Emergence 3  (2020) express how, within this ecosystem, many familiar structures have vanished, while more heterogeneous objects are growing ferociously. Is this a collective offensive, or a collective defense and resistance? Perhaps it is precisely in the mutual entanglement of these two sides that something greater than the sum of its parts emerges—bodies that were once clearly defined begin to sprout unfamiliar branches. I, the materials, the tools, electricity, and temperature are no longer merely conditions for each other’s growth, but rather a symbiotic environment for a new species.

The painting  Vastness No. 2 (2023) expresses the entry of non-human concepts, transforming painting and art from a relationship of subordination between humans and objects—and from the burden of dragging along heavy subject-object dichotomies—into actions of mutual contact, embrace, and repulsion between objects. Most discourse on “viewing a painting” stops at “I feel,” yet the true reason for the powerlessness of “I feel” lies in a replication of “self-awareness.” In other words, today, relying solely on feeling is itself a rejection of feeling; it is merely the automatic application of a knowledge of feeling. “Feeling” fundamentally separates you from the world—this is a price to be paid: the price of the necessary separation between human beings and the world, which must not be conflated.