{"id":4353,"date":"2025-04-29T18:27:36","date_gmt":"2025-04-29T10:27:36","guid":{"rendered":"https:\/\/glutenfreepleasure.com\/__proxy_domain\/staging.objectifs.com.sg\/?p=4353"},"modified":"2025-09-17T13:07:07","modified_gmt":"2025-09-17T05:07:07","slug":"other-highlights-from-2020","status":"publish","type":"post","link":"https:\/\/glutenfreepleasure.com\/__proxy_domain\/www.objectifs.com.sg\/other-highlights-from-2020\/","title":{"rendered":"Other Highlights From 2020"},"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 2020<\/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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Image by Wei Leng Tay<\/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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PROGRESSIVE DISINTEGRATIONS<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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DEC 2020-FEB 2021<\/strong><\/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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Chapel Gallery<\/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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In\u00a0Progressive Disintegrations, artists Chua Chye Teck, Hilmi Johandi <\/b>and Wei Leng Tay<\/b> engage in conversation with Marc Gloede <\/b>to create an installation of mixed-media works.\u00a0These artworks, with beginnings in touristic images in Singapore from the late 1980s-90s, a family archive of photographic slides from the early 70s, and fluorescences of mould and wetness on wood, open up ways of re-looking at and thinking about what and who we live with, and how photographs inscribe ways of being.<\/span><\/p>

Through photography, painting and installation, the exhibition addresses what is perceived through an image. It also asks how a photograph \u2014 as document, object and artefact \u2014 can be re-examined through a series of transformations, fragmentation and remaking.<\/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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Exorcize Me at Palais de Tokyo, Paris<\/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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OBJECTIFS FILM CLUB: EXORCIZE ME BY SOOKOON ANG<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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NOV 2020<\/strong><\/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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Online<\/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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Exorcize Me<\/a> is a photography, videography and live performance project addressing coming-of-age anxiety and teenage alienation. The title speaks of unease within one\u2019s own skin and the yearning to get rid of new-fangled fears and unfamiliar emotions. Artist Sookoon Ang<\/strong> spoke to curator Silke Schmickl<\/strong> about the process of making Exorcize Me, sharing her motivation and experience working with theatre students, and how it takes a village to make a short film.\u00a0<\/span><\/p>

Exorcise Me<\/a>, as well as\u00a0other short films by Sookoon Ang<\/a>\u00a0are available for rent via Objectifs Film Library.<\/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 Ines Toa<\/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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SHOOTING HOME YOUTH AWARDS CLASS OF 2019 EXHIBITION<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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OCT-NOV 2020<\/strong><\/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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Lower Gallery & Courtyard<\/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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Featuring works by the 11 photographers from Objectifs\u2019 young photographers developmental programme. Includes\u00a0Arielmegan Tan, Beverly Chew Xiu Qi, Toa Li Ting (Ines), Wong Cai Jie, J, Lee Jia Ying, Siew Png Sim, Suhani Gupta, Li Wanjie, Goh Lin Yuan, Nur Hadziqah<\/strong>\u00a0and\u00a0Kiat Tan Wei Jie<\/strong>. Mentored by\u00a0Grace Baey, Joseph Nair, Juliana Tan\u00a0<\/strong>and\u00a0Nurul Huda Rashid.<\/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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Film still from Mae Nak by Pimpaka Towira<\/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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OBJECTIFS FILM CLUB: DAVY CHOU & PIMPAKA TOWIRA<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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SEP 2020<\/strong><\/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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Online<\/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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Held in conjunction with Objectifs\u2019 inaugural Short Film Incubator, mentors for the programme Davy Chou<\/strong> (France\/Cambodia) and Pimpaka Towira<\/strong> (Thailand) discuss their respective early works, Davy Chou\u2019s First Film and Mae Nak. They talk about their beginnings and journeys as filmmakers, their process and the meanings behind their experimental films.<\/p>

Short films by\u00a0Davy Chou<\/a>\u00a0and\u00a0Pimpaka Towira<\/a>\u00a0are available to rent\u00a0on the\u00a0Objectifs Film Library<\/a>.<\/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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OBJECTIFS FILM CLUB: JODILERKS DELA CRUZ, EMPLOYEE OF THE MONTH BY CARLO FRANCISCO MANATAD<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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AUG 2020<\/strong><\/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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Jodilerks Dela Cruz, Employee of the Month<\/a>\u00a0by Carlo Francisco Manatad<\/strong> (Philippines) follows the titular protagonist on her last day of duty as a gas station attendant.\u00a0Filmmaker Carlo Francisco Manatad in conversation with producer and screenwriter Jeremy Chua <\/strong>(Singapore) <\/span>discuss the process of making this short film, a \u201cpunk, explosive [short] film full of despair about the social situation in his country\u201d.\u00a0<\/p>

Jodilerks Dela Cruz, Employee of the Month<\/a>, as well as\u00a0other short films by Carlo Francisco Manatad<\/a>\u00a0are available for rent on the\u00a0Objectifs Film Library.<\/a><\/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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AN EDIFICE W\/O<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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AUG-OCT 2020<\/strong><\/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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Lower Gallery<\/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 edifice w\/o<\/em>\u00a0spotlights two young artists \u2014\u00a0Dylan Chan<\/strong>\u00a0and\u00a0Rifqi Amirul Rosli,<\/strong>\u00a0featuring all-new works in the mediums of photography, print and sculpture, curated by\u00a0Kamiliah Bahdar.<\/strong>\u00a0The exhibition title is taken from the preface of\u00a0House of Incest<\/em>\u00a0by Anais Nin, which reads:\u00a0All that I know is contained in this book written without witness, an edifice without dimension, a city hanging in the sky.<\/em>\u00a0The phrase captures something of the in-between \u2014 of things there yet formless, physical yet elusive, with edges soft and penetrable, real and imagined \u2014 that both artists contemplate in their works.<\/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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OBJECTIFS FILM CLUB: STILL IS TIME BY GLADYS NG<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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JUL 2020<\/strong><\/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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In Still is Time<\/em>, time seems to have come to a standstill on a particular Sunday. On the day of his daughter\u2019s wedding, a father finds himself consumed with his own emotions and amidst the joyous celebration, he undergoes a curious episode with profound metaphysical ramifications. Filmmaker Gladys Ng<\/b> and artist Ng Hui Hsien <\/b>discussed how intuition, play, spirituality, ambiguity, observation and contemplation figure into the practices.<\/p>

Rent Still is Time by Gladys Ng<\/a> on the Objectifs Film Library.<\/a><\/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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OBJECTIFS FILM CLUB: DEATH OF THE SOUND MAN BY SORAYOS PRAPAPAN<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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JUN 2020<\/strong><\/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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Online<\/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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Death of the Sound Man<\/a> depicts two sound recordists working hard on the sound mix of a film. With his signature deadpan humour, Sorayos Prapapan <\/b>(Thailand) draws parallels between audiences not caring about sound in film, and how people\u2019s voices are often neglected, offering subtle commentary on Thai society and politics. During this session, Sorayos (Yossy) and sound designer, re-recording mixer and foley artist Tingli Lim <\/b>(Singapore), discussed artifice in sound design and foley work, how cultural context impacts their work, Yossy\u2019s experience, and what it takes to be good at their job, and more.<\/p>

Click\u00a0here<\/strong><\/a>\u00a0to rent Death of the Sound Man by\u00a0Sorayos Prapapan and\u00a0here<\/strong><\/a>\u00a0to rent other short films by Sorayos Prapapan on the\u00a0Objectifs Film Library<\/a>.<\/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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OBJECTIFS FILM CLUB: THE GREAT ESCAPE BY TAN WEI KEONG<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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MAY 2020<\/strong><\/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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Online<\/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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Created using hand-drawn animation, pixilation and photographs, The Great Escape<\/a> (2015) by Tan Wei Keong <\/b>is a short film inspired by Alfian Sa\u2019at<\/b>\u2019s poem of the same title. During this discussion, Wei Keong shares his process adapting Alfian\u2019s poem into a short film. They also discuss their respective practices in film and literature and drama, as well as the exploration of identity and social issues in their works.\u00a0<\/p>

Rent The Great Escape by Tan Wei Keong<\/a> and his other short films<\/a> on the Objectifs Film Library.<\/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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OBJECTIFS FILM CLUB: COME BY KIRSTEN TAN\n<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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APR 2020<\/strong><\/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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Singaporean filmmaker Kirsten Tan<\/b> discusses her early short film,\u00a0Come<\/i> (2007), a sex comedy set in South Korea, with actress Oon Shu An<\/b>, whose credits include Rubbers (2014).\u00a0The conversation focuses on Kirsten\u2019s experiences in South Korea, the making of <\/span>Come<\/i><\/span>, and her journey and philosophy as a filmmaker and their discussion of <\/span>Come<\/i><\/span> in relation to Shu An\u2019s role in sex comedy <\/span>Rubbers,<\/i><\/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\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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LONGING AND BELONGING<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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FEB-MAR 2020<\/strong><\/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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Lower Gallery<\/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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To know Singapore is to know how its natural environment, precincts and iconic structures change before its people are ready to bid them goodbye. It is to recognise that change is the only constant in a tiny and ambitious nation. It is to feel a semblance of pride when gazing upon the latest attraction in town, while also feeling a pang of nostalgia for what was there before.<\/p>

Singaporean photographer Wee Teck Hian has explored many corners of the island in more than two decades as a photographer specialising in panoramic black-and-white photography. He has documented many slices of Singapore\u2019s history while working at a newspaper, and through his passion projects.\u00a0Longing and Belonging<\/em>\u00a0presents his photographs documenting the transformation of various spaces in Singapore, including Marina Bay, the former Keretapi Tanah Melayu (KTM) railway tracks, and the Central Catchment Nature Reserve. The images explore what it means to belong to a community and country that is ever changing, and will resonate with anyone who has ever pondered the loss of something familiar.<\/p>

Press coverage:<\/em>
Business Times \u2013\u00a0Snapshots of Yesteryear<\/a>
Singapore Art Gallery Guide \u2013\u00a0Longing and Belonging<\/a><\/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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DANCING ALONE (DON'T LEAVE ME)<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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JAN-FEB 2020<\/strong><\/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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Chapel Gallery<\/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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Dancing Alone (Don\u2019t Leave Me)<\/em> by artist Susie Wong<\/b> is an immersive video installation of solitary women dancing freely, evoking imagery of dance halls in the 1950s and 60s.<\/p>

Referencing a line from the film The King and I<\/em> \u2014 \u201cNo woman would dance alone while a man is looking at her.\u201d \u2014 the exhibition alludes to the consumed representations of women in media that are re-enacted in the everyday.\u00a0The dancers in Wong\u2019s videos evoke both the desire to be freed from these tropes and at the same time to themselves consume by reinforcing them through the culturally infusive practices of a modern society. Through dance, she is both empowered and subjugated.\u00a0<\/span><\/p>

Includes panel discussion with curator <\/span>Kimberly Shen<\/b><\/span> and playwright <\/span>Faith Ng<\/b><\/span>, and\u00a0<\/span>Joget Malam: A Night of Dance and Spoken Word <\/i>with\u00a0Zai Tang<\/b>\u2019s music playlist mixed by Mr. Has<\/strong> (Telok Ayer Arts Club) and performances by Sharda Harrison<\/strong> and Sabrina Sng<\/strong>. Part of Singapore Art Week 2020.\u00a0<\/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 2020 Image by Wei Leng Tay PROGRESSIVE DISINTEGRATIONS DEC 2020-FEB 2021 Chapel […]<\/p>\n","protected":false},"author":1,"featured_media":4356,"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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