{"id":4169,"date":"2025-04-23T18:01:42","date_gmt":"2025-04-23T10:01:42","guid":{"rendered":"https:\/\/glutenfreepleasure.com\/__proxy_domain\/staging.objectifs.com.sg\/?p=4169"},"modified":"2025-09-17T13:07:17","modified_gmt":"2025-09-17T05:07:17","slug":"other-highlights-from-2003-2014-exhibitions","status":"publish","type":"post","link":"https:\/\/glutenfreepleasure.com\/__proxy_domain\/www.objectifs.com.sg\/other-highlights-from-2003-2014-exhibitions\/","title":{"rendered":"Other Highlights From 2003-2014 exhibitions"},"content":{"rendered":"\t\t
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Archive \u2013 Exhibitions & Screenings<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Other Highlights From 2003 - 2014<\/h2>\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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\u00a9 Ore Huiying<\/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
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WE ARE FARMERS<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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NOV-DEC 2014<\/strong><\/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\t\t

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We Are Farmers<\/em>\u00a0is a visual exploration of the history of farming in Singapore, through photographer\u00a0Ore Huiying\u2019<\/strong><\/a>s solo exhibition. Her family, farmers for several generations, have experienced many upheavals in their farming practice. The show examines the past and present memories through her family\u2019s archival photos, which dates back to the 60s, and also new works created by her.<\/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\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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MONGRELS 2014: #MONGRELSAREAWESOME<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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NOV 2014<\/strong><\/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\t\t

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This is the third exhibition organised by\u00a0Three Legs Good<\/strong>, a registered charity working to give injured and disabled dogs a second chance at life, and to raise awareness of the joys of adopting a mongrel. Featuring works by photographers\u00a0Elke Vogelsang, Ernest Goh<\/strong>\u00a0and\u00a0Siong Chung Hua<\/strong>, and illustrators\/painters\u00a0Ly Yeow, Namiko Chan Takahashi<\/strong>\u00a0and\u00a0Lili Chin<\/strong>.<\/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\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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\u00a9 Tom White<\/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
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THE GOLDEN LEAF<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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OCT-NOV 2014<\/strong><\/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\t\t

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Myanmar is a complex society that has often been the focus of attention. From cultural exoticism to political and social events that have sent ripples around the world, Myanmar has been a source of both wonder and concern. This exhibition will attempt to explore both the contemporary issues facing Myanmar in the context of its social history, through the works of photographers\u00a0Tom White<\/strong>\u00a0and\u00a0Julio Etchart<\/strong>, and academic\u00a0Dr Li Y<\/strong>i.<\/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\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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Angie Seah - After the Gold 2013, documentation photograph. Photo by Wolf-Dieter Grabner<\/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
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NOTES ON PERFORMANCE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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SEP 2014<\/strong><\/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\t\t

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Notes on Performance<\/em>\u00a0is an exhibition that gathers together a selection of objects, ephemera, documentation and relics relating to performance art practice in Singapore, or by Singaporean artists. The exhibition is presented by Melbourne-based curator\/writer\u00a0Kyla McFarlane<\/strong>\u00a0who is in Singapore on a residency programme with The Art Incubator.<\/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\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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CHAP LAU CHU \u2013 THE RE-OPENING OF COMMONWEALTH DRIVE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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SEP 2014<\/strong><\/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\t\t

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Chap Lau Chu: The Re-Opening of Commonwealth Drive (Tanglin Halt) is a project that playfully engages themes of popular memory and urban space. A collaborative project by\u00a0Mary Bernadette Lee, Aurial Lee, Malvina Tan<\/strong>\u00a0and\u00a0Reuben Tan<\/strong>, under the guidance of Asst. Professor Lucy Davis (Nanyang Technological University, School of Art, Design and Media).<\/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\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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\u00a9 ND Chow<\/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
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ROOTS<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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MAY-JUN 2014<\/strong><\/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\t\t

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Roots<\/em>\u00a0is\u00a0ND Chow<\/strong>\u2019s first exhibition in Singapore and coincides with the launch of his book of the same title, featuring images taken from a two-year journey around the world 15 years ago. Now a successful portrait photographer based in Tokyo who has shot celebrities such as Ayumi Hamasaki and Patti Smith,\u00a0Roots<\/em>\u00a0is Chow\u2019s personal reflection on his search for identity and the origins of his creativity.<\/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\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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BUGIS STREET <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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FEB-MAR 2014<\/strong><\/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\t\t

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Bugis Street features portraits of the transgendered community in Bugis in the 1980s. Taken by French photographer\u00a0Alain Soldeville<\/strong>, the exhibition shows a side of Singapore history that many might be unfamiliar with.<\/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\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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\u00a9 Chia Aik Beng<\/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
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DAYS WE MET<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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JAN 2014<\/strong><\/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\t\t

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Over a span of six years, photographer\u00a0Tan Ching Yee<\/strong>\u00a0visited, interviewed and photographed more than 20 cosplayers in their homes, and the works are presented in this solo show.<\/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\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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\u00a9 Tan Ching Yee<\/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
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OFFSTAGE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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DEC 2013<\/strong><\/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\t\t

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Over a span of six years, photographer\u00a0Tan Ching Yee<\/strong>\u00a0visited, interviewed and photographed more than 20 cosplayers in their homes, and the works are presented in this solo show.<\/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\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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\u00a9 Gilles Massot<\/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
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LOVE HURTS: TALES FROM THE HEARTLAND<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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OCT-NOV 2013<\/strong><\/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\t\t

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Love Hurts is a solo exhibition by\u00a0Gilles Massot<\/strong>\u00a0that looks at cross-cultural identities in a globalised world. Using pop culture references such as karaoke videos and TV soap operas, Massot blurs genres and identities in an exploration of the relationship between song, text and visuals. In collaboration with\u00a0Urich Lau, Ian Woo, Jeremy Sharma, Arif Ayab<\/strong>. A Parallel Event of the Singapore Biennale 2013 If the World Changed.<\/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\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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\u00a9 Mary-Ann Teo<\/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
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THROUGH A PINHOLE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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SEP 2013<\/strong><\/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\t\t

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Through a Pinhole is a solo exhibition by artist Mary-Ann Teo<\/strong>. Using an unconventional pinhole camera made from a large trash bin, Mary-Ann went around the entire Kampong Glam area to document its hustle and bustle. The pinhole images re-look at the historical and modern context of the area. A heritage site now known for its cafes and fashionable shops, has history been displaced in the face of change?<\/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\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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ON THE ROAD<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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AUG 2013<\/strong><\/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\t\t

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A travel photo documentation of journeys by Malaysian photographer\u00a0Yoong Wah Alex Wong<\/strong>.<\/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\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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LEAVE YOUR MARK!<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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JUN 2013<\/strong><\/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\t\t

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Singapore is a city built on rules and fines \u2026 what happens when there are no rules? Do we suddenly become lost? An exhibition of photography, illustration and stories for children by writer\u00a0Angie Featherstone<\/strong>\u00a0and illustrator\u00a0Stephanie Wong<\/strong>.<\/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\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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\u00a9 Phyu Mon<\/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
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HOPE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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MAY 2013<\/strong><\/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\t\t

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HOPE<\/em>\u00a0is a broad presentation of current features of contemporary Myanmar as seen by Burmese artist\u00a0Phyu Mon<\/strong>.<\/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\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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THE SEVEN SCENES OF BARRY LYNDON<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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APR-MAY 2013<\/strong><\/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\t\t

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A solo exhibition by\u00a0Justin Loke<\/strong>, this installation features paintings based on seven interior scenes of the period film Barry Lyndon (1975) by Stanley Kubrick. Each painting, which is of a small and intimate size, is a reproduction of a scene from the film and is presented in a room solely lit by candles.<\/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\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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JOURNEYS<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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MAR-APR 2013<\/strong><\/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\t\t

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6 months, 19 countries, 25000 kilometers.\u00a0Journeys\u00a0<\/em>is a visual and emotional diary of the intersections of various journeys for photographer\u00a0Tan Ngiap Heng<\/strong>. And although it is not an answer to any specific question, it is food for thought for many of his life\u2019s questions.<\/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\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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\u00a9 Philipp Aldrup<\/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
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GEZEITENTUMPEL (TIDAL POOLS)<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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FEB-MAR 2013<\/strong><\/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\t\t

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Gezeitentu\u0308mpel<\/em>\u00a0is a collection of visual poems and questions about the brevity of life and the vastness of time by\u00a0Philipp Aldrup<\/strong>. He photographed tidal pools beneath Singapore\u2019s highways and in its abandoned buildings and cemeteries. These tidal pools, however, are metaphorical spaces caught between the logical forces of the rational and the unpredictable forces of the absurd.<\/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\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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\u00a9 Jakrawal Nikthamrong<\/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
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CAN YOU HEAR ME?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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NOV-DEC 2012<\/strong><\/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\t\t

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While bringing together two generations of Thai artists, this exhibition explores the concept of documentation through conversation. Artists include\u00a0Jakrawal Nikthamrong, Tulapop Saenjaroen, Taiki Sakpisit, Micheal Shaowanasai, Chulayarnon Siriphol\u00a0<\/strong>and\u00a0Sutthirat Supaparinya<\/strong>. Curated by Loredana Pazzini-Paracciani.<\/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\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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100 SGD 100 FACES 100 COPYRIGHTS<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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NOV 2012<\/strong><\/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\t\t

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This exhibition by Korean artist\u00a0Lee Seung-Ah<\/strong>\u00a0examined the issues of surveillance and how these appropriated images exist without the knowledge of the subjects.<\/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\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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\u00a9 Jean Qingwen Loo<\/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
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10 YEARS OF SHOOTING HOME<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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OCT-DEC 2012<\/strong><\/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\t\t

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Curated around the themes of home and identity, this retrospective show at the National Museum of Singapore presents projects developed over the last ten years by participants of Objectifs\u2019 pioneering photography mentorship programme, Shooting Home.<\/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\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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\u00a9 Ore Huiying<\/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
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OUR PLACES, OUR STORIES<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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JUL-AUG 2012<\/strong><\/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\t\t

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Co-Curated by Objectifs for The Esplanade Jendela. Celebrating the stories that emerge from different parts of our little island this exhibition focuses on the intimate memories that are just as real and a part of our lives as the accounts in our history books. Featuring\u00a0Anthony Chen, Bryan van der Beek, Boo Junfeng, Chang Kai Xiang, Deanna Ng, Elgin Ho, Eva Tang, K. Rajagopal, Mervyn Teo, Ore Huiying, Royston Tan, Sam Kang Li, Victric Thng\u00a0<\/strong>and\u00a0Wong Maye-E.<\/strong><\/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\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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\u00a9 Deanna Ng<\/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
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GARDEN CITY<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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JUN 2012<\/strong><\/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\t\t

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A solo exhibition by\u00a0Deanna Ng<\/strong>. \u201cThe Singapore I know is not perfect but it\u2019s my home. I want to photograph what I see and feel. The CBD, seemingly peaceful after a bustling day of business; a welcome sign on top of a building, inviting its viewers to explore our island; fake palm trees among real trees in my town centre; the tree in my neighbourhood that looks like a Xmas tree if I just squint my eyes. This is my version of our Garden City.\u201d<\/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\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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\u00a9 Jean Qingwen Loo<\/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
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DEAR THURIYA<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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APR-MAY 2012<\/strong><\/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\t\t

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Jean Loo<\/strong>\u2019s fascination with Ashin Thuriya, a young novice monk, began during a chance encounter in 2009 in a quiet neighbourhood in Mandalay. Watching from afar as they walked barefoot on the streets collecting alms, she approached them and followed them back to their home, the Sulamuni Brick Monastery. Born from this encounter, Dear Thuriya is a long-term documentary project sustained through observation and photography. Co-curated by Objectifs for The Esplanade Tunnel.<\/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\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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\u00a9 Deanna Ng<\/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
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PORTRAITURE NOW<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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FEB-MAR 2012<\/strong><\/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\t\t

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Portraiture has always been a fascinating area of photography. From images of celebrities to anonymous figures, ethnographic studies to personal mementos, the portrait has always evoked a sense of curiosity and discovery.\u00a0Portraiture Now<\/em>\u00a0looks at the works of six local photographers who have vastly different approaches and subjects. Featuring\u00a0Deanna Ng, Sit Weng San, Tay Wei Leng, Alecia Neo, Jason Wee, Ang Song Nian.<\/strong><\/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\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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MAN OF THE FOREST\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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NOV 2011<\/strong><\/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\t\t

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\u201cI would like to keep a forest in a box.\u201d Enter a pale room. A single metal box stained with patina by time sits in the centre of the room. A cool green glow emits from the surrounding walls. The room pulsates with forest life. Open the box. A man in a forest is captured in there. Made by filmmaker\u00a0Ric Aw<\/strong>\u00a0during the BankART1929 Yokohama residency.<\/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\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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\u00a9 Black Baroque Collective<\/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
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POSTCARDS FROM EARTH<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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AUG-SEP 2011<\/strong><\/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\t\t

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Postcards from Earth<\/em>\u00a0by\u00a0Black Baroque Committee<\/strong>\u00a0is a series of postcards featuring scenes of vivid atrocities from not just history but also our present day-to-day existence. The show attempts to measure our distance and proximity to these selected images of disaster, violence and cruelty. The viewers, positioned as either alienated individuals or aliens, are encouraged to continue their roles as consumers by purchasing and sending them via the specially set up exhibition post office.<\/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\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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SNAP, GRANDMA<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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AUG 2011<\/strong><\/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\t\t

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There is a strong stereotype of the elderly in society because much of our perceptions are shaped by media.\u00a0Snap, Grandma!<\/em>\u00a0hopes to change that by showing the public images of the elderly taken by the elderly. 60 students aged 19 -21 years old from different local tertiary institutions participated in this project, guiding elderly family members or strangers on taking photos of their daily lives.<\/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\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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YOUNG TOGETHER, TOGETHER YOUNG<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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JUL 2011<\/strong><\/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\t\t

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Exploring the idea of youth and the romanticism that surrounds it through the work of six young emerging photographers (Alvelyn Aiko, Alex Thebez, Marquez, Nelson Lim\u00a0<\/strong>and\u00a0Michael Fivi<\/strong>s) working in Singapore and New York, curated by Alex Thebez.<\/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\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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HOMEWORK<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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JUN 2011<\/strong><\/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\t\t

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Using his own family members as subjects, artist\u00a0Sean Lee<\/strong>\u00a0explores photography\u2019s capacity as a healing device and comedic tool in his second solo exhibition at Objectifs. Intimate and at times almost voyeuristic,\u00a0Homework<\/em>\u00a0is a revelation of the ties that bind a family together.<\/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\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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\u00a9 Genevieve Chua<\/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
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CHILD AND THE BEAST<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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MAR 2011<\/strong><\/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\t\t

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Discover new narratives based on old pontianak myths in\u00a0Genevieve Chua<\/strong>\u2019s latest solo exhibition. Child and the Beast provides an engaging, alternative take on local folklore and raises interesting questions on power structures and feminine archetypes within the local context.<\/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\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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CHILDREN OF MEKONG<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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NOV-DEC 2010\u00a0<\/strong><\/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\t\t

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The Children of Mekong<\/em>\u00a0is an exhibition and multimedia project that explores water and sanitation issues in rural Asia. Commissioned by Lien Aid, the collaborative effort by documentary photographer\u00a0Jean Qingwen Loo<\/strong>, journalists\u00a0Chew Xinyi, Yang Huiwe<\/strong>n and the\u00a0Little Red Ants Creative Studio<\/strong>\u00a0hopes to communicate life in Cambodia, Vietnam and China, where access to potable water remains a pipe dream.<\/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\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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SOLILOQUY<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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OCT-NOV 2010<\/strong><\/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\t\t

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soliloquy is one man\u2019s conversation with nature. It speaks of journeys taken, places uncovered, and growth renewed. The exhibition is the result of documentary photographer\u00a0Terence Teo\u2019s<\/strong>\u00a0solo trip through Japan in 2010.<\/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\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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M.M I LOVE YOU <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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AUG 2010<\/strong><\/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\t\t

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An exhibition about modern Singapore,\u00a0M.M. I Love You<\/em>\u00a0features works by five Singaporean artists exploring the mythology of nationhood. Each artist provides a unique perspective on the stories that we tell ourselves and others about being Singaporeans. Curated by Charmaine Toh, featuring works by\u00a0Amanda Heng, Ho Tzu Nyen, Tan Pin Pin, Bryan van der Beek\u00a0<\/strong>and\u00a0Jason Wee.<\/strong><\/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\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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PHOTOCUBISM<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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APR-JUN 2010<\/strong><\/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\t\t

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The exhibition of 16 photo collages records Thai artist\u00a0M.L. Mingmongkol Sonakul<\/strong>\u2018s experiences and interaction with places she has visited around the world, from Bangkok to New York and Los Angeles.<\/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\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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BENGALURU RUSH<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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FEB 2009<\/strong><\/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\t\t

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Bangalore has made a name for its IT firms and international business relations. Yet somewhere in this cosmopolitan hustle-bustle also persists an eclectic traditional charm. Features images by participants of the workshop in Bangalore and Mysore in 2008, led by photo-essayist David H Wells. The photographers are-\u00a0Birgit Voogt, Deanna Ng, Jean Qingwen Loo, Karen Lucas, Kelvin Theseira, Melissa de Silva, Ng Boon Cheng, Paul Seow<\/strong>\u00a0and\u00a0Savita Rao<\/strong>.<\/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\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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LIVING DANGEROUSLY\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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OCT-NOV 2007<\/strong><\/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\t\t

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Because \u201cthe world makes better sense photographed\u201d,\u00a0Russel Zehnder<\/strong>\u2018s black and white photographs document individuals in the \u201chuge big continuum of human traffic\u201d he encountered in his journeys around Northern India (Delhi, Varanasi, Bodhgaya, Darjeeling and Agra).<\/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\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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EVERYBODY KNOWS YOU CRIED LAST NIGHT<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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JUL-AUG 2007<\/strong><\/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\t\t

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Like stills captured from a film,\u00a0Sean Lee<\/strong>\u00a0photographs feature his family members in constructed narratives within each picture and are shot within the family home.<\/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\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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\u00a9 Ruby Seng<\/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
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SCRAPS OF MEMORIES\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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MAY-JUN 2006<\/strong><\/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\t\t

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Three former participants in the Black & White Photography workshop at Objectifs, taught by Chow Chee Yong, came together to do this group show.\u00a0Ruby Seng, Jeanette Ng\u00a0<\/strong>and\u00a0Heng Kiang Koo\u2019s<\/strong>\u00a0images seek to document their personal recollections and also echo and evoke the viewer\u2019s own half-forgotten memories.<\/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\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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INSIDE OUT<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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FEB 2006<\/strong><\/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\t\t

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Inside Out is a project that empowers low-wage migrant workers with basic photography skills as an avenue to express themselves. The exhibition featured works by participants of the 2006 workshops. Prints were for sale with proceeds going to non-profit Migrant Voices.<\/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\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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\u00a9 Tan Ngiap Heng<\/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
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TETE-A-TETE <\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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SEP 2005<\/strong><\/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\t\t

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T\u00eate-\u00e0-T\u00eate is an exhibition of portraits by\u00a0Tan Ngiap Heng<\/strong>\u00a0of people in the arts in Singapore. His subjects have included people like actor\/director Ivan Heng, ballerina Xia Hai Ying and writer\/painter Parvarthi Nayar. The works appearing in T\u00eate-\u00e0-T\u00eate are personal interactions with the artists that he has met during his work.<\/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\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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INSPIRATIONS FROM LANDMARKS\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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AUG 2004<\/strong><\/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\t\t

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Chris Yap<\/strong>\u00a0worked with W!ldRice Theatre on\u00a0Landmarks \u2013 Asian Boys Vol 2,<\/em>\u00a0a collection of eight plays based on eight landmarks and the literal and metaphorical spaces represented by them. He\u00a0created\u00a0a series of background images that interwove emotions and spaces.<\/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\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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\u00a9 Tan Ngiap Heng<\/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
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SKIN<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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JUN 2004<\/strong><\/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\t\t

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Skin\u00a0<\/em>is\u00a0Tan Ngiap Heng<\/strong>\u2018s first complete exhibition of nudes. In this show, the photographer, who has a deep interest in the human condition and the human spirit, explores the many different sides to a person by focusing three exploration studies on the same model.<\/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\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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\u00a9 Edmund Seet<\/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
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QUIET<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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APR 2004<\/strong><\/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\t\t

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This showcase of\u00a0Edmund Seet<\/strong>\u2018s black and white photographic imprints blurs the boundaries of art and photography. Images of construction sites and common spaces are captured in a monolithic manner. The photographer hopes thes esimple imprints will engage the audience in finding beauty in everyday or forgotten things.<\/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\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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LIGHT TRAILS \u2013 UNDER CONSTRUCTION<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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NOV 2003<\/strong><\/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\t\t

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Seeking to make unique images in the night,\u00a0Chow Chee Yong<\/strong>\u00a0noticed there is life in construction areas at night. The long exposures ranging from 15 minutes to more than an hour are fleeting moments that can only be captured by film.<\/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\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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@ Tay Kay Chin<\/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
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PANORAMIC SINGAPORE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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JUN 2003<\/strong><\/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\t\t

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Documentary photographer\u00a0Tay Kay Chin<\/strong>\u00a0captures a side of Singapore that we often see but rarely notice \u2013 until it vanishes.<\/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\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":"

Archive \u2013 Exhibitions & Screenings Other Highlights From 2003 – 2014 \u00a9 Ore Huiying WE ARE FARMERS NOV-DEC 2014 We […]<\/p>\n","protected":false},"author":1,"featured_media":3826,"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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center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[38,125,36],"tags":[425],"class_list":["post-4169","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions","category-other-highlights","category-past-events","tag-2003-2017"],"acf":[],"yoast_head":"\nOther Highlights From 2003-2014 exhibitions - Objectifs<\/title>\n<meta name=\"description\" content=\"Objectifs presents As You Grow Older by V\u00e2n-Nhi Nguy\u1ec5n in its 2023 Women in Film & Photography exhibition (22 Sep to 5 Nov 2023).\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/glutenfreepleasure.com\/__proxy_domain\/www.objectifs.com.sg\/other-highlights-from-2003-2014-exhibitions\/\" \/>\n<meta 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