At the exhibition, a vast Chinese audience can see the spectacle of Wang Ziyue’s “Floating Life in Crevice” (2014), a video that shows real people evicted from dwellings scheduled for demolition, re-enacting their menaced lives — themes avoided in Chinese art academies. Thanks to the new wealth of its collectors, and of many of its artists, China has become a major player in the global art world, and now the Beijing government apparently hopes that the splashy reincarnation of the Shanghai Biennale will inform the world that China is becoming more open — or is it immune?