{"id":12674,"date":"2025-12-09T14:51:27","date_gmt":"2025-12-09T06:51:27","guid":{"rendered":"https:\/\/glutenfreepleasure.com\/__proxy_domain\/www.objectifs.com.sg\/?p=12674"},"modified":"2026-03-09T12:29:20","modified_gmt":"2026-03-09T04:29:20","slug":"salt-tongues-far-shores-near","status":"publish","type":"post","link":"https:\/\/glutenfreepleasure.com\/__proxy_domain\/www.objectifs.com.sg\/salt-tongues-far-shores-near\/","title":{"rendered":"Salt Tongues \/ Far Shores Near"},"content":{"rendered":"\t\t
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Image credit: Ng Hui Hsien<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Salt tongues \/ Far shores near<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Featuring works by Ayaka Yoshida, Liu Liling, Ng Hui Hsien, Susanna Tan, Tamaki Ono, Yang Jie, Yumi Nishimura<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Salt Tongues \/ Far Shores Near<\/span><\/i> builds on the 2024 residency and exhibition <\/span>Murmuring Shores \/ On the Brink<\/span><\/i> at Onomichi City University, continuing a cross-cultural dialogue between artists from Singapore and Japan. Like its predecessor, the title brings together two ideas: the sea as a shared environment, and the act of crossing into unfamiliar territory.<\/span><\/p>

This iteration shifts the focus from sound to sensation. Where <\/span>murmuring<\/span><\/i> suggested quiet listening, <\/span>salt tongues<\/span><\/i> evokes a tactile, synaesthetic interplay of tasting, touching, and speaking. \u201cSalt\u201d recalls both the sea and the sharpness of flavour, while \u201ctongues\u201d refer to both language and the body. Together, they open a sensory space for connection and exchange.<\/span><\/p>

Salt and language also carry deeper resonances \u2014 of maritime trade, cultural movement, and translation. The phrase <\/span>Far Shores Near<\/span><\/i> plays with notions of distance and proximity, reflecting how two places can feel at once far apart and intimately connected. The exhibition draws on the contrasts between two port cities: Onomichi, where sea mist drifts through wooden hillsides, and Singapore, where a polyglot buzz animates a densely urban landscape.<\/span><\/p>

Curated by Wang Ruobing & Yutaka Inagawa<\/span><\/p>

Presented by Comma Space
Supported by the National Arts Council
Venue support by Objectifs
Part of Singapore Art Week<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Exhibition<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Objectifs Lower Galleries<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t20\/01\/2026 – 22\/02\/2026\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Exhibition Opening Reception<\/strong>
Tue 20 Jan, 6pm \u2013 8pm
Free Admission<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Related Events<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Guided Tour with Curator and Artists<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Objectifs Lower Galleries<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Sat 31 Jan, 5 – 6pm
Free Admission<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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About the artists<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Liu Liling<\/a><\/strong> (b.1993, Singapore) works primarily with the photographic image to explore ideas of duration and experiential aspects of the medium, situating them within and in response to the installation site. In her practice, she engages with various printing processes as a tool to arrive at a new picture plane, often <\/span>suggesting points of departure, a coming into, and stasis. Essential to the works are visual qualities <\/span>inherent to the making process, materialising as a build-up of minutiae that foregrounds the work.<\/span><\/p>

Ng Hui Hsien<\/strong><\/a> works as an artist, educator, and curator. Through her artworks, she seeks to evoke stillness and wonder, especially towards our inner landscapes and the more-than-human world. Her work is informed by phenomenology, one that sees our bodies as sites of knowledge and one curious about our relations with the living earth.<\/span><\/p>

Susanna Tan<\/strong><\/a> is a visual artist, researcher, and producer based in Singapore and Venice. Her interdisciplinary practice threads together plant symbolism, collective memory, and emotions of loss, love, and resilience. Working with text, image, sculpture, and site-responsive installation, she situates plants as intermediaries of human experience. Through archival research, field encounters, and community storytelling, she traces how botanical life holds both personal and cultural emotions across time. Her ongoing project, <\/span>Sad Plant Index<\/span><\/i>, maps real and imagined species as repositories of human affect across diverse geographies.<\/span><\/p>

Yang Jie<\/strong><\/a> is a sculptor who draws inspiration from the intricate world of objects. From familiar household objects to industrial machines, he is fascinated by how things are made and used, excavating stories and ideas from found objects and machines through the traces of use. Using his background in electronics engineering and sculpture, he reinterprets the human experience through mechanical movements and electronics, transforming repaired and found objects into kinetic sculptures that perform. At the core of his exploration lies a fascination with how objects crafted by human hands often take on new and unexpected meanings beyond their original intentions.<\/span><\/p>

Ayaka Yoshida<\/strong><\/a> (b.1993) is an artist based in Hiroshima, Japan. <\/span>Her practice traverses abstraction, embodiment, and memory, often emerging from acts of walking, offering, and repetition. Through installations, performances, and time-based works, Yoshida explores the fluid boundaries between structure and organism, self and environment, presence and absence.<\/span><\/p>

Tamaki Ono<\/strong><\/a> (b. 1973) is a visual artist and educator whose practice spans painting, installation, and site-specific projects. He completed his MFA in Painting at Tokyo University of the Arts in 1998 and has taught at Onomichi City University since 2001, where he is currently Professor in the Department of Fine Arts. He founded AIR Onomichi in 2007, an artist-in-residence program that explores new relationships between site, context, and artistic expression, and also serves as Vice Representative Director of the NPO Onomichi Akiyasaisei(Abandoned House Reclamation) Project.<\/span><\/p>

Yumi Nishimura<\/strong><\/a> (b. 1989) is a Hiroshima-based painter and educator. Her practice explores a possibility in painting through a tension between narrative and materiality (mati\u00e8re or painting texture). From this exploration, she seeks to create works that are \u201cmore than an event but not yet a story\u201d \u2014 images in a suspended state, where something is happening yet its meaning remains elusive.<\/span><\/p>

About the curators<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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About the Curators<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Yutaka\u202fInagawa<\/strong><\/a> (b.\u202f1974, Tokyo) is a Japanese contemporary artist, educator, and curator (he prefers the term \u201cartist\u2011curator\u201d) whose multifaceted practice bridges cultures, media, and conceptual terrains.<\/span><\/p>

Wang Ruobing<\/strong><\/a> is an artist, educator and independent curator. Her art practices explore our position with our environment in the contexts of ecology and knowledge production.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Image credit: Ng Hui Hsien Salt tongues \/ Far shores near Featuring works by Ayaka Yoshida, Liu Liling, Ng Hui […]<\/p>\n","protected":false},"author":3,"featured_media":12675,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"_acf_changed":false,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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