{"id":4385,"date":"2025-04-30T18:34:33","date_gmt":"2025-04-30T10:34:33","guid":{"rendered":"https:\/\/glutenfreepleasure.com\/__proxy_domain\/staging.objectifs.com.sg\/?p=4385"},"modified":"2025-09-17T13:06:13","modified_gmt":"2025-09-17T05:06:13","slug":"other-highlights-from-2022","status":"publish","type":"post","link":"https:\/\/glutenfreepleasure.com\/__proxy_domain\/www.objectifs.com.sg\/other-highlights-from-2022\/","title":{"rendered":"Other Highlights From 2022"},"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 2022<\/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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A YEAR MADE OBJECT<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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DEC 2022<\/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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\u201cIf time were an object, what would it be? Amidst one of the many COVID waves, there was a moment I forgot what year we were in. I sat at my desk and wrote a note to try and locate time. The note became an invitation to artists and designers to play a game with me and imagine, remember, capture, recreate time as an object; time that one could see, touch, hear, feel, wear and hold. The objects later became photography, a book, and an exhibition.\u201d \u2013 A\u00a0project<\/a>\u00a0by\u00a0Yvonne Tham\/ampulets.<\/strong>\u00a0Featuring\u00a0Adeline Tan\/Mightyellow, Chloe Tan\/Usuallyusual, Daisy Toh, Jeanette Adrienne Wee, Kim Choy\/Shibui Furniture, Larry Seow, Liang Han Yun, Mabel Annabelle Tan, Mary Bernadette Lee, Nabwong Chuachuwong, Natta Wannapago, Ng Siying\/atinymaker, Shing Lee\/Argentum, Tan Zi Xi\/MessyMsxi, Xinnie Ng\u00a0<\/strong>and\u00a0Lim Chiyong\/Issho Labo.<\/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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TRUE TRUTH<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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NOV 2022<\/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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True Truth<\/em>\u00a0by artist\u00a0Sookoon Ang<\/strong><\/a>\u00a0explores transcendental experiences through abstractions and minimalism. The center of the show is a triptych video installation which breaks down a landscape of sky, forest and lake into 3 disjointed textures. Also within the same space is a series of ceramic sculptures passing off as abstract colour field paintings; each devoid of obvious subject matter. This new collection of artworks produced in different mediums seeks to represent enigmatic forms. The exhibition shifts between two and three dimensional forms with objects passing from light to obscurity, opacity to translucency, suggests ideas of the instability of existence, variable perceptions as well as space within space. It also acts as an antinomy to a time-obsessed culture by offering a decelerated space, almost to a stand-still.<\/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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MEMORY IS MY SIXTH SENSE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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AUG 2022<\/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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Lens based artist\u00a0Aparna Nori<\/strong>\u00a0presents two bodies of work, both created using the salted paper process. In\u00a0Nalla Pilla<\/em>, the mosaic of her skin and its many folds that hang heavily with the burden of years of slow trauma seem fragile and translucent, yet taut in its tenacity. If one lingers, the mosaic turns into a quiet celebration of the diversity of the tones \u2013 not just of the medium, but of her skin that held her together through those times. In the second work that shares the title of the exhibition, the prints depicting the couplet of Rajnigandha flowers, harbour in its visible brush strokes the many shades of emotions that are associated with the memories of her mother. The lines, like tree rings \u2013 a visible testimony to the passage of time.<\/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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AS AND WHEN THEY GROW<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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AUG 2022 – JAN 2023<\/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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Objectifs Store<\/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’s something quirky about our garden city \u2013 on the surface it seems man-made, manufactured and curated, yet if you look a little deeper, you’ll often find a little more wilderness than expected.\u00a0While urban planners selectively curate, maintain and build structures to support plant life, artist\u00a0<\/span>Shirly Koh<\/a>\u00a0feels that this process denies people the opportunity to see what could be if nature could be if left unchecked.<\/span><\/p>

As and when they grow uses cyanotype techniques to document plants in our urban environment that are left to their own devices – wildflowers, flowering grass, trees, cabbages and algae, around the routes that Shirly comes across in her everyday routine. The artwork features hand-cut plants, which often leads to Shirly having to make a decision on whether she should harvest them or to wait a little while more, while considering how they may not be there the next week as they may have been removed by landscapers.\u00a0Through this installation, Shirly invites viewers to consider their relationship with nature in this urban environment.\u00a0<\/span><\/p>

This work is a site-specific installation at the Objectifs store, as a part of Site Unseen \u2014 an adapted studio residency programme by Objectifs that invites artists and image makers to create site-specific image-based works for spaces outside of a conventional gallery. Through this, it proposes new ways of encountering everyday spaces that have been overlooked.<\/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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\u00a9 Azrizal Abu Che'<\/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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WHY YOU TAKE MY PHOTO?<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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AUG 2022<\/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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\u201cWhy You Take My Photo?\u201d are words commonly heard by many street photographers. Though usually meant as a challenge, it also invites us to question ourselves as well as our own motivations in this form of photography. Featuring the works of 6 Singapore-based street photographers (Danial Jailani, Azrizal Abu Che\u2019, Sean Tan, MoodyDen (Dennis Chan), David Cheng, Caleb Thien<\/strong>), from the Singapore Street Photography Collective or SGSPC. Formed in the midst of the pandemic, the collective comprises a mix of up-and-coming and experienced photographers from varying backgrounds.<\/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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CONVERSATIONS<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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MAR-JUL 2022<\/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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Objectifs Store<\/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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Conversations is a site-specific installation at the Objectifs by Lee Chang Ming,<\/a> in collaboration with Dennese Victoria<\/a> and Samantha Yap as a part of Site Unseen \u2014 an adapted studio residency programme by Objectifs that invites artists and image makers to create site-specific image-based works for spaces outside of a conventional gallery. Through this, it proposes new ways of encountering everyday spaces that have been overlooked.<\/p>\n

“As a photographer and publisher, I spend time editing and sequencing images, thinking about how viewers will encounter the photos \u2014 whether it is in a physical gallery, book, or online \u2014 and how words should accompany it. These encounters are filtered through my subjective reading of the images, which led me to question: how do images get their meaning, and who decides what it means? I am interested in exploring the relationship between photography, text, and subjectivity. When meanings in images and text are combined, it can evoke thoughts or feelings not present in either one.”<\/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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OBJECTIFS FILM CLUB WITH MAKBUL MUBARAK<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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JUL 2022<\/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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Makbul Mubarak<\/strong> is a critic-turned-filmmaker based in Indonesia. In conversation with Leong Puiyee from Objectifs, he speaks about his filmmaking journey and his short film The Malediction<\/a>. A tale about the surreal experiences of a pious Islamic man who desires to marry a second wife, The Malediction<\/a> bagged the Indonesian National Award for Best Short Film and a special mention at the Singapore International Film Festival in 2018.<\/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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LIKE OPENING ONE\u2019S EYES FOR THE FIRST TIME<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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JUN 2022<\/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\u00a0Burning\u00a0with Desire: The Conception of Photography<\/em>,\u00a0Geoffrey Batchen discusses\u00a0the origins of photography in terms of\u00a0how proto-photographers did\u00a0not possess\u00a0the concept of a transparent reality\u00a0that\u00a0can be represented\u00a0through photography. Like opening one\u2019s eyes for\u00a0the first time, these proto-photographers were divided on what exactly a photograph should look like and what aspects of reality are to be captured. Invoking such troubled origins of photography, this exhibition expands the idea of what photography can be, by proposing photography as a node in creative thinking endeavours of various disciplines. Curated by\u00a0Ang Siew Ching<\/strong>, featuring Creative Authors:\u00a0Lee Wen (via Bruce Quek), Chua Ek Kay, (via estate of Chua Ek Kay), Debbie Ding, Marc Nair, Rachel Bok, Randy Chan, ila, Tang Da Wu<\/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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WHILE SHE QUIVERS<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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FEB-MAR 2022<\/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\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

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While She Quivers<\/i> bridges the converging practices of visual artists Kanchana Gupta <\/b>and Yanyun Chen<\/b>, interrogating the socially and culturally defined frameworks of femininity in a quiet provocation of desire, power, intimacy, and personal agency. The exhibition presents rich and embodied extensions of their long-term explorations \u2013 Kanchana\u2019s Production of Desire and Yanyun\u2019s Stories of a woman and her dowry. Both works navigate the precarities of the cultural tropes and expectations of Asian women, in a palpable reclamation of tenderness and strength embedded in the feminine narrative and identity.<\/p>

Quivering, as a gesture, denotes a restlessness, tension, and uncertainty that is also fuelled by emotive power and potency. It requires vulnerability in strength, resists subjugation, and demands a bold incitement of power. Kanchana and Yanyun\u2019s incisive installations transform the Objectifs Chapel Gallery into a space that is visceral and contemplative; employing symbolic gestures, rituals and objects in ways that are equally autonarrative and somatic to unpack the underlying performativity of being a woman. Curated by <\/span>Kimberly Shen.<\/b><\/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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\u00a9 Muhammad Rusydan bin Md Norr<\/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 2021 EXHIBITION<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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FEB-MAR 2022<\/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 13 photographers from Objectifs\u2019 young photographers developmental programme. Includes Elisa Tan, Janel Teo, Joseph Tasman, Kevia Tan, Luke Seow, Marc Chu, Michael Heng, Muhammad Rusydan bin Md Norr, Ng Xin Lui, Lee Tze Yee, Sarah, Tan Yan Sheng Shawnn, Tay Yiling, Xu MeiCheng<\/strong>. Mentored by Ng Hui Hsien, Juria Toramae, Lenne Chai and Marvin Tang.<\/strong><\/p>

Press Coverage
\u2013 Female Magazine:\u00a0Things To Do In Singapore<\/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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SPACE DRAWING NO. 12 - 155 MIDDLE ROAD<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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JAN 2022<\/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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Space Drawing No.12 \u2013 155 Middle Road <\/i>is the latest edition of the Space Drawing series by artist Sai <\/b><\/a>(aka Chen Sai Hua Kuan<\/b>) created at the historical site 155 Middle Road. Built in the 19th century, 155 Middle Road is one of the few remaining examples of gothic architecture in Singapore, and has served various purposes and communities during different historical eras. It was first known as Christian Institute, and later became the Methodist Girls\u2019 School and the Straits Chinese\u2019s first Methodist Church. It subsequently was the May Blossom Restaurant, a car workshop, Sculpture Square, and is now Objectifs \u2013 an independent visual arts space.<\/p>\n

The site currently consists of two main buildings: the Chapel Gallery and Lower Gallery.  Like many repurposed buildings in urban spaces, these buildings bear witness to the changes in Singapore over time. They are reflections of the economic, political and cultural conditions of Singapore, providing tangible links to our roots and people. Playing with the energy released by bungee ropes pulled from wall to wall, from floor to ceiling, from inside to outside of the buildings, Space Drawing No.12 <\/i>is a drawing, film, performance, and spatial sculpture that offers a slice of suspended time, exploring the idea of the simplest but the most fundamental function of a line \u2013 to divide, subtract and define a space. Presented by Comma Space<\/b><\/a>, co-presented by Objectifs for Singapore Art Week 2022.<\/p>\n

Press<\/strong>
:: The Straits Times: Singapore Art Week 2022: So much to see, too little time<\/a>
:: Lianhe Zaobao: \u9648\u8d5b\u534e\u704c\u7528\u8e66\u6781\u8df3\u7ef3\u4f5c\u753b \u52a8\u6001\u65b9\u5f0f\u8be0\u91ca\u7a7a\u95f4<\/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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PROXIMITIES<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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JAN 2022<\/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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Part of Singapore Art Week, Proximities is the first solo exhibition by Singaporean artist-curator Zulkhairi Zulkiflee. This exhibition at Objectifs presents a new video work surrounding Malay masculinities and their plural representations.<\/p>

At the beginning of 2020, artist-curator Zulkhairi Zulkiflee focused on the trope of the Malay Boy found in the works of Singaporean artist Cheong Soo Pieng. An indirect extension that included a visual study of colonial postcards depicting the implicit relationship of boy and crocodile, and personal photographs of his father in the eighties, Zulkhairi’s consistent interest in images and visuality is rigorously anchored by the Malay male body. Here, his works circulate key themes like representation, racialized masculinities, and Malay male identity formations.<\/p>

In the many Malay boy(s) of Cheong\u2019s multiple yet elusive renditions, Zulkhairi attempts to locate the Malay male in art history while unpacking underlying systems of power that have shaped and naturalized understanding of difference. When exorcised from the framings of art history – one informed by overlapping lenses of pioneer artists and their Western predecessors, the Malay boy now stands as a figure (re)molded by contemporary currents and various intercessors.<\/p>

Against such discourses, the exhibition primarily focuses on a video that foregrounds Malay masculinities and their plural representations \u2014 intersecting wide-ranging sources from art history to personal meditations.<\/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 2022 A YEAR MADE OBJECT DEC 2022 Lower Gallery \u201cIf time were […]<\/p>\n","protected":false},"author":1,"featured_media":4400,"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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