Alternative Imaginaries | Yen Duong
Women in Film & Photography 2021 Exhibition, Chapel Gallery ALTERNATIVE IMAGINARIES | YEN DUONG
In the age of mass cultural and technological commodification of memories, we are capable of …
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Friends of Objectifs
Join us as a friend of Objectifs! Your support allows us to continue our developmental and educational work, so that we can: ¤ Nurture through mentorship and education. ¤ Create …
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With You Here Between: Defamiliarizations
Curated by Elaine Thanya Marie Teo x Tekad Kolektif Chapel Gallery, Objectifs 23 Sep to 31 Oct 2021 Tues to Sat, 12pm to 7pm, Sunday 12pm to 4pm Closed on …
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She Never Rode That Trishaw Again by Sim Chi Yin
She Never Rode That Trishaw Again tells the story of Loo Ngan Yue, a woman widowed by the British war against anti-colonial forces in Malaya — a 12-year conflict that became a template for other counter-insurgency campaigns around the world, including Vietnam, Afghanistan and Iraq. Artist and author Sim Chi Yin juxtaposes vacation photographs of Loo — her late paternal grandmother — with oral history excerpts on the family’s trauma. This intimate volume, using vernacular photographs to create a filmic experience, takes us inside the emotional world of a family shattered by geopolitics. It is the first in a trilogy of books Sim is making around the “Malayan Emergency” of 1948 to 1960, and its colonial and post-colonial representations, painting a picture of anguish, loss and, amnesia — an allegory for Southeast Asia’s lingering traumas as a Cold War battleground.
About Sim Chi Yin
Sim Chi Yin is an artist from Singapore whose research-based practice includes photography, moving image, archival interventions and text-based performance, and focuses on history, conflict, memory and extraction.
She is newly based in Berlin.
Recent solo exhibitions include One Day We’ll Understand, Les Rencontres d’Arles (2021), One Day We’ll Understand, Landskrona Foto Festival, Sweden (2020), One Day We’ll Understand, Hanart TZ Gallery, Hong Kong (2019) and Most People Were Silent, Institute of Contemporary Arts, LASALLE College of the Arts, Singapore (2018), Fallout, Nobel Peace Museum, Oslo (2017). Her work has also been included in group shows such as Most People Were Silent, Aesthetica Art Prize, York Art Gallery, United Kingdom (2019); UnAuthorised Medium, Framer Framed, Amsterdam, The Netherlands; Relics, Jendela (Visual Arts Space) Gallery, Esplanade, Singapore (both 2018); and the Guangzhou Image Triennial ( 2021), the 15th Istanbul Biennial, Turkey (2017). Sim was commissioned as the Nobel Peace Prize photographer in 2017, nominated for the Vera List Center’s Jane Lombard Prize for Art and Social Justice 2020.
Chi Yin is represented by Zilberman Gallery in Berlin and Hanart TZ Gallery in Hong Kong. She joined Magnum Photos as a nominee member in 2018 and is currently also doing a visual practice-based PhD at King’s College London.
Se Te Subió El Santo (Are You In A Trance?) by Tiona Nekkia McClodden
Se Te Subió El Santo is a collection of self – portraits taken by the artist directly after she awoke every morning while away on a week-long residency in Iowa City, IA at the Center for Afrofuturist Studies in Spring 2016. This daily practice confronts notions of the artist’s interests in rendering a full self implicit of gender, race, sexuality, and spirituality while challenging and collapsing the intersections of each identity as well.
The title of the work is taken from Ana Mendieta, the Iowa Years: A critical study, 1969 through 1977 where Julia Ann Herzberg writes in the dissertation:
Ana and Raquelin Mendieta’s vocabulary contained many Afro-Cuban idiomatic expressions. For example, they would often respond to a friend who was acting in an unruly or hyperactive manner by asking” “Se te subió el santo? (“Are you in a trance?”) In the Afro-Cuban context, the expression “subirse el santo” is used in religious ceremony when the orisha/saint takes possession of the believer.
The monograph also includes an essay by author Akwaeke Emezi.
About Tiona Nekkia Mcclodden
Tiona Nekkia Mcclodden is an interdisciplinary research-based conceptual artist, filmmaker and curator whose work explores, and critiques issues at the intersections of race, gender, sexuality and social commentary. McClodden’s interdisciplinary approach traverses documentary film, experimental video, sculpture, and sound installations. Themes explored in McClodden’s films and works have been re-memory and more recently narrative biomythography.
About Capricious Publishing
Capricious is an arts foundation based in New York focused primarily on book publishing and an annual photo book award, with an emphasis on supporting intersectional, queer perspectives.
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UNTITLED by Sasha Phyars Burgess
Sasha Phyars-Burgess’ first monograph, Untitled. Spanning three bodies of work, this 200-plus page monograph includes poems by Ser Alida and Aurora Masum-Javed, a conversation between Sasha Phyars-Burgess, Juliana Huxtable and Carolyn Lazard, and essay by Bill Gaskins. Designed by Studio Lin.
As recipient of the second annual Capricious Photo Award, Sasha is a vital, emerging voice in contemporary photography, engaging the charged line between documentary and fine art. Her work ranges from affecting studies on diaspora, family and place to revolving social phenomenons in which energy, beauty and power meet.
The second annual jury panel was helmed by Capricious Founder and Publisher Sophie Mörner and Associate Publisher Anika Sabin alongside Lauren Cornell, Katherine Hubbard, JOFF, Matt Keegan, Guadalupe Rosales, Ka-Man Tse, and Lyndsy Welgos.
As featured in:
British Journal of Photography
The Guardian
Urbanautica
Vanity Fair
About Sasha Phyars Burgess
Sasha Phyars-Burgess was born in Brooklyn, New York to Trinidadian parents and raised in Bethlehem, Pennsylvania. She received a BA in photography from Bard College and an MFA from Cornell University.
“Of her practice Sasha states:
I am interested in What is seen, and the cultural connotations and markers that come with looking at bodies, particularly black ones. I use a documentary approach in order to view the domestic, the unsupervised, and the ordinary in an effort to reveal the mundane reality of lives that are often under continued supervision and oppressive state and social violence. I was born in 1988. I am a scorpio. I am black. I am Alive.”
— Excerpt from Capricious Publishing
About Capricious Publishing
Capricious is an arts foundation based in New York focused primarily on book publishing and an annual photo book award, with an emphasis on supporting intersectional, queer perspectives.
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Recap: Why is Creating a Visual Language Important?
The Short Film Forum, part of the Objectifs Short Film Incubator 2021, saw film-makers and film-lovers from all over Southeast Asia tune in to a packed weekend of free online …
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EXHIBITION PROPOSALS FOR LOWER GALLERY
Objectifs welcomes exhibition proposals for the Lower Gallery on a rolling basis. Proposals should reflect a focus on image-based work, with a preference for work by Southeast Asian or …
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WE WERE FARMERS
By Ore Huiying Curated by Zhuang Wubin
Chapel Gallery, Objectifs 29 Jul to 29 Aug 2021 Free admission
Exhibition Opening (Extended Hours): Thu 29 Jul, 12pm to 9pm
We Were …
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WE WERE FARMERS by Ore Huiying
Ore Huiying’s family have been farmers for generations, from the 1960s till 2020.
We Were Farmers, exhibiting at Objectifs from 29 Jul – 29 Aug 2021, is the culmination of her 12-year personal project documenting their experience and resilience, and a commentary on changing agricultural practices and urban development in Singapore, through photography.
The multimedia exhibition and photobook of the same title both comprise archival photos from family albums, text and video, in addition to Ore’s images, which reflect her position as a participant-observer: both as a documentary photographer, and as a member of the family.
We Were Farmers depicts the hopes, dreams and memories that tie Ore and her family together. It is a poignant tribute to not only the family farm, but also where her understanding of community and tradition, and sense of self, come from.
The book features an afterword by Terence Heng, Senior Lecturer in Sociology at the University of Liverpool, United Kingdom.
About Ore Huiying
Ore Huiying is a documentary photographer from Singapore. Having been uprooted from a rural to an urban environment as the country underwent development, she is drawn to stories of people and places affected by development in Southeast Asia.
Ore completed her Masters of Arts in Photojournalism & Documentary Photography at the London College of Communication in the United Kingdom in 2010.
Besides photography, Ore also picked up her family’s affinity for farming and worked at her family’s hydroponic farm before its closure.