The Object-Oriented Ontology enables Wang Jianwei to maintain a high consciousness of painting and sculpture. It also allows him to dissolve the hierarchy between colors, lines, surface, media, concepts, and audience within the exhibition space. With colors and lines liberated, he unleashes them to wander like nomads. The hand-painted colors and hand-drawn lines stem from the symbiosis between his works, the global warming and computer-generated imagery.

It also demonstrates his contemporary art pedagogy: painting and sculpture serve as guides for the audience to engage with hyperobjects and non-human objects. The tension between the audiences and the temporal depth of his works constructs a theater of anthropocentric aesthetics. Audiences are invited to step into the space where his body inhabit, and to understand the way to survive on this inhospitable planet.

The exhibition entangles with Tadao Ando’s architecture, enticing audiences to confront the anthropocentric landscapes concealed behind the works as they fade away into the depths of the museum. Each audience will depart with their unique understanding. It is a long-awaited dynamic encounter between contemporary art and architecture.

— Lu Xinghua