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APRIL 2013



April 2013 THE TEAM

STACHE Editor in Chief Maine Manalansan Creative Director Jared Carl Millan Marketing Director Ellie Centeno Associate Editor Sarah Buendia Assistant Editor Marielle Misula Fashion Editor Ecks Abitona Music Editor Lambert Cruz

Marketing Assistant Coco Maceren Senior Photographer Jelito de Leon Web Designer Marynyriene Silvestre

On The Cover Writers Katrina Eusebio, Elise Montinola, Alfonso Miguel Bassig, Karla Bernardo Photographers Joanna Santillan, Mayee Azarcon Gonzales, Patrick Guillermo, Cru Camara, Elora Picson Illustrators Angela Espinosa, Vince Puerto, Ches Gatpayat, Jessan Miramon, Tzaddi Esguerra, Daniela Go, Alyssa Larisse De Asis, Mica Agregado, Bianca Marjalino Submissions Inquiries Advertising Twitter Facebook



APRIL 2013

Photo by jelito de leon



April 2013 Contributors

Pawel grabowski Pawel is a photographer and cinematographer born and raised in Krakow, Poland. He currently works on projects in Poland and Brazil. He studied photography at the Institute of Photography in Dublin, and fine art photography at KFA in Krakow.

Heiko Laschitzki Heiko, based in Berlin, is internationally known for his work with actors, musicians and artists. When it comes to fashion photography, his work benefits from experience and intuition earned in years of portrait and celebrity photography. His work has been published in magazines as Gloss, Dazed and Confused, and more.

JC SANTIAGO Father, husband, student and a photographer. He is a wedding photographer by profession, but he enjoys shooting anything from people to trees. His dream is to make his photos speak for themselves and inspire people to share there everyday life and experiences through photos.

Andie Ochoa Andie is seventeen and is currently grasping at life as she attempts to write her own novel. She likes to dress up her guinea pigs and weeps over the A Song of Ice and Fire series.


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read your favorite stache issues on our new website:



April 2013 EDITor’s letter

breaking the break What is art? We use the term loosely around here because we have a simple idea of what it should be. Art is subjective. What’s art for me may not be art for you. But who are we to define what’s beautiful and meaningful to one person? Our theme for this month is Art just like all our April issues. But this time we’re including more feature articles compared to our previous April issues. One of which is our conversation with Dia Frampton, another The Voice alumna, during her visit to Manila. We also have photo diaries from New York (taken by Cru Camara, one of our photographers who is currently studying in our dream school) and Stars Live in Manila. Justin Timberlake’s comeback is also one of the biggest headlines this year and you know we did not hesitate writing a story about it. Ecks Abitona, our fashion editor, also covered one of the many exhibits that happened in the past few months, Art Fair Philippines for this issue. A lot of magnificent contemporary artwork adorned the walls of The Link but nothing was quite like “Then It Happened”, a series of photo-realistic paintings by none other than our cover boy, Luis Santos. His skills and vision as an artist is incredible. Find out more about his story on page 70. We are still ironing out a few kinks from our rebranding and our new website so please let us know what you think by emailing us. The whole process involves a lot of decision-making so we need your help and you can do so by answering this survey. Who knows, we might be seeing you in your favorite bookstores someday.

Best, Maine Manalansan Editor-in-Chief


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April 2013 Issue 14 Edited by Sarah Buendia

ME AND ART VS. THE WORLD by Sarah Buendia

THE CREATIVE PROCESS by Bianca Marjalino



Me and art vs. the world COLUMNS

ME and art vs. the world What does it take to be an artist in this modern day? Sarah Buendia talks about practicality vs. passion. Photo by Jelito de Leon.


APRIL 2013

COLUMNS Me and art vs. the world

In a journal entry I once snuck at my 9-5 corporate job, I wrote: “At lunch today, Ma’am Emma asks me what my career plan is, perhaps knowing fully well that a corporate job was not fit for me. Not surprisingly, as I do wear boots and hats to work. I answer her with something most liberal arts graduates would probably say, which is that I plan to teach at a university before I retire, and along the way I’d write, on my spare time. For now, I’m saving up. This is the answer to avoid further questions that are often bombarded to middle class writer aspirants, whether or not it’s personally true for us. It is, after all, the most believable. What makes it believable is that it’s practical. She threw me a worried look, and I sympathized.” Rereading this journal entry always leaves me ambivalent: on the one hand, I know I should be worried that my dream of writing a modern Filipino novel would never be fulfilled and I’d end up comfortable but miserable; on the other, I should be fearless, because an awareness of my creative limitations and circumstances should make me more confident about being a voice of those who may be on the same page. This is not a newly formulated predicament. For many years, I have met, read of, and listened to aspiring artists who are always torn between practicality and passion. The difficulty behind this is, ironically, an easy access to a comfortable back-up life, given that they have to work in a job they dread, or at least don’t enjoy. For these aspirants, time is the luxury attained only after their souls have been sucked by the corporate, money-grabbing world. For those who follow passion despite being barely able to afford it, kudos to you, for as many of history’s greatest artists would say, struggle is part of the deal – the first step to anything beautiful is to experience it. “And struggle is beautiful, right?” – says none of our parents, and our dreams of travelling to Europe and South Africa in the back of a chariot. But of course there are those who find the balance, either by luck or by hard work, or if they’re smart, of a combination of both, and if they’re brilliant, because it just comes naturally to them. But I cannot speak for them, for I am not them. And I suppose the acceptance of my circumstances, and consequently deciding to fight back as best as I could, is the force that drives me to still continue to find that balance. In a world where things don’t necessarily work out for the idealistic, the most important thing is to remember that you’re an artist, first and foremost. This proves to be neither easy nor hard, but it requires a level of commitment that is not for the quickly

discouraged or the generally impatient. The trick is to accept that the moment that you recognized yourself as an artist as a child, you’re going to constantly evolve over the years, to be able to say what you need to say to the world. The 12-year-old me would not be overly proud of my lack of artistic achievements at 21, but that’s just because 12-year-old me has not experienced what 21-year-old me has. Every moment that I am aware of my 12-year-old decision, though, I remember why I do the things I do – and why I all the more want to prove the world that I did not make a stupid decision. Life is always going to throw rocks at you, and it is going to knock on your doors while we paint your masterpieces to tell us that rent was due two weeks ago. But as long as you keep working on that masterpiece for 30 to 300 minutes after a long, frustrating commute home, on top of being mentally harassed at work, on top of being aggravated by the local news playing on our television sets every damn day, you haven’t really lost yet. It’s all going to come together, believe it or not, because one day we’ll just wake up to see that either the masterpiece is done, or that we are feeling like nothing is more important anymore than to finish that masterpiece. And by then who cares how old we are? The experience equivalent of that piece will be the most brilliant we would ever come up with in your life so far – and no one can aptly criticize us for it. And as for a more practical advice (because aren’t we trying to find a balance here?), I’d suggest, simply, to try your best each time. If it neither comes naturally to you to want to create something, nor can you force yourself when that little voice inside of you nags you to update your online portfolio, then perhaps you were not meant to become an artist. People are going to want to see your work if and only if you try hard enough, and perhaps, even hire you for it – because those chances are higher when you try. One of the best life advices that I’ve ever gotten was “to say what you need to say because it saves a lot of time” and I suppose it applies not just to confessions or apologies, but also in mastering anything. It takes a lot of time to improve art, and every moment we waste not saying what we have to is a chance wasted to come closer to our best selves. Another version of this is an advice from this article’s illustrator, which is that “every stroke brings you much closer to the better version of your art.” So hold on to that dream, aspiring artist, and work on that goddamn thing.




THE CREATIVE PROCESS Bianca Marjalino discusses Dr. Funke’s 5-step creative process model and how you can apply it in your own work. Photo by Jelito de Leon.


APRIL 2013


Have you ever been stuck on a project, not knowing where to start? Have you ever felt like your brain has dried up, not being able to generate any ideas? We’re all familiar with moments of unproductivity, when all our ideas seem to be unsatisfying or even nonexistent which usually happen during the most crucial times: when work deadlines are stacked one on top of the other, or when our boss or professor asks us to come up with 10 articles, each accompanied by a cover design, to be submitted within the week. There are a countless ways on how to start or not start working. Procrastination usually gets most of us cramming, but one way to effectively and efficiently finish our work is by coming up with our own step-by-step creative process. In the year 2000, Dr. Joachim Funke formulated his own 5-step creative process model to describe how a person needs to act in order to produce creative outcomes. The stages in his model are as follows: 1. Preparation The initial stage of the creative process includes the identification of the problem at hand. The creative process starts as soon as the task is formally or informally assigned. It is imperative that we have a clear understanding of your goals and limitations- from the required format of your output, to the specific details of the project. The preparatory stage also includes gathering data on our own. Personal research on the task or topic is key to keep us going. It is important to avoid limiting ourselves to the information that was handed to us. We should find the initiative to gain special knowledge on the topic and remember any relevant information that we may stumble upon. We may be able to come up with preliminary ideas during this step but do not be complacent and use these ideas right away. We must jot them down, keep them in mind, and move to step 2. 2. Incubation Various researchers have studied the importance of incubation in the stages of creativity. There could only be so much preparation we can do until you reach a dead-end. This step refers to the temporary abandonment of conscious problem-solving efforts. Inactivity does not always equate to unproductivity. Once we abandon endeavors to generate ideas, the human brain continues working unconsciously. It is, however, crucial that we have the sufficient tools and information from step 1 for this to work. We should rest for a while, play DOTA or candy crush (but not too much), eat out, while keeping the information you gathered in step 1 at the back of our

heads. Studies show that information held in long-term memory is processed in the unconscious and will eventually find its way into conscious thought. 3. Insight Insight is best described by the most awaited aha! moment. It happens suddenly or more effortlessly, culminated by psychological processes occurring during incubation. It is the creative moment when we’ve become aware of a novel possibility or solution to our problem. Upon arriving at a good idea, continue to contemplate and try to generate more. Once you’ve had your aha! moment, it’s easier to explore new concepts or solutions. 4. Evaluation This step is where we personally filter your ideas, evaluating whether or not our ideas may be relevant and effective. We must also take note if the ideas solve the problem at hand or if they adhere to the goals and limitations. 5. Elaboration and Verification After evaluating an idea on our own, it’s time to communicate them to others involved in the project. The team then considers factors for implementation, such as feasibility, availability of resources and possible public reaction, should our ideas be released publicly. This step allows us to gain constructive feedback, a time to sense problems, work out issues, find compromise and return to the group to enhance your ideas until the designated decision-makers or the team as a whole approves the idea. There different ways on how to tackle a problem, the creative process is just one of them. In fact, there have been numerous examples of creative processes, with lengths ranging from 4 to 7 steps. The classical model, which was formulated by Graham Wallas, dates back to as early as 1926! Keeping this creative process example in mind, anyone can formulate his own creative process based on the context of his desire. Find a process that works for you and you’ll find that generating ideas is (almost) a piece of cake.



Mawee Borromeo Mawee is a morning person whose strange name frequently gets misspelled. She love drawing long legs and clothes she can’t wear. Long road trips, spicy Korean noodles, breakfast buffets, sappy rom-com movies and chick-lit books are her guilty pleasure. People still mistake me for a twelve year old.


APRIL 2013


April 2013 Issue 14 Edited by Jared Carl Millan


+ Book reviews on warm bodies by andie ochoa gone girl by jessan miramon apples by jared carl millan movie reviews on argo by karla bernardo Primer by Ecks Abitona



Sip and gogh Manilascope

Haven of silent poetry Sip and Gogh is the Philippine’s first drink and paint studio, but exactly how receptive are Filipinos? Katrina Eusebio delves into the Sip And Gogh experience. Photographed by Elora Picson.

Painting has been an uncommon past time for the average Juan. Only a select few would consider an easel and a spectrum of acrylic paint colors as the next addition to their living room. But don’t fret. Hobbyists and paint enthusiasts alike will find the perfect retreat in Sip and Gogh – a drink and paint studio in Capitol Hills, Quezon City. Sip and Gogh is the first of its kind in the Philippines. The three main partners behind this: Norman Santos, Carlo De Leon, and Cristopher Cruz, created their brainchild in the hopes of bringing relaxation through artwork. This studio offers sessions for kids, adults, experienced painters and even couples. Although they hold summer art classes, the normal Sip and Gogh experience is not a formal art session. They like to label it more as a painting party where everyone could meet new friends and share in the relaxing effects that painting can bring.


APRIL 2013

Manilascope Sip AND Gogh

Getting the experience is really easy. First you have to check their calendar online. This is where they post the artwork to be featured on a certain date. Next is to reserve your slot online or by phone. Online payment is encouraged but they also accept walk-ins. Each session will take about one and a half to two hours but guests have the option of leaving their paintings and going back to continue their masterpiece some other time. “If I could summarize the Sip and Gogh experience in one word, it would be self-fulfillment,” says Cristopher. True enough, customers are very happy with the different experience. One customer asked how much one of the paintings displayed is; Cristopher answered, “Why buy when you can make one of your own for the same price?” Living by their words, the studio’s in-house artists will guide you in creating your very own painting. They will teach you techniques on color and sketching and will even assist you in getting extra brushes and paint. The studio has experienced a steady increase in the number of guests. Since when they opened in December 1, 2012, they were able to hold private functions like debuts and birthdays. They were fearful at the start and consider awareness as their major challenge. But the power of word of mouth prevailed, and soon enough the news about the coolest art place in QC spread like wildfire.

The idea originated from one of (one of the founding partners) trips to the US where he encountered a similar setting – a painting studio where the attendees were served wine. Brought together by their love for art and drinks, they decided bringing the idea here in the Philippines would be golden. Not only that, the intentions of starting Sip and Gogh are as beautiful as the strokes on their paintings. Cristopher, Norman and Carlo were all proud scholars of the “Tulong Dunong” foundation of Ateneo de Manila since gradeschool. After experiencing the blessing this opportunity has given them, they wanted to give back to the foundation that took care of their education. Painting and art is a good way to detach yourself from the hustles and bustles of work, school or whatever agent of stress succumbing you. As Twyla Tharp, well-known American dancer and choreographer, puts it “Art is the only way to run away without leaving home.” So the next time you feel the need to distress or you just want to try something new, break from mindset that painting needs talent. Challenge yourself to create something beautiful and feel the same level of accomplishment the thousands of happy customers that Sip and Gogh has catered to already.



April 2013 book nook





Isaac Marion's vivid imagery of a dystopian apocalypse gives us a daunting picture of The next book the youth will be paying particular attention to isn’t about an erotica what the world can eventually fall to. Unlike most run of the mill zombie novels, with characters ripped off from a glittering vampire novel. Nor is it about another Isaac Marion's vivid imagery of a dystopian apocalypse pictureto ofshare with readers theThe nextsomewhat book the youth will be payingextremely particularjudgmental attention toangst-y isn’t about Marion uses the gives voice us of aandaunting actual zombie novels teen an anderotica his refusal to grow up. It doesn’t follow a John what the worldvivid can eventually to. Unlike most run of the milla daunting zombie with characters ripped offwill from glittering vampire novel. is itabout aboutan another existentialist, if not haunting, plot. novels, This young us no flowery Green-ish plot line. 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Amy and Nick’s case, a whole heap.

In Richard Milward’s debut novel, Apples, you’d think nightly gets knocked up and ultimately throws the baby into the river, Eve’s hardcore partying, sex, drugged up, booze-guzzling teenagers, are as mother’s condition gets worse and she gets knocked up herself, and In Richard Milward’s debut novel, Apples, you’d nightlyas the ever so drearygets knocked up and ultimately throws loads the baby into the river, Eve’s normal andthink prevailing weather of England. more tumultuous events not really worth mentioning—a hot hardcore partying, sex, drugged up, booze-guzzling teenagers, are as mother’s condition gets worse and she gets knocked and Perhaps is, fornightly I have never been there and wouldn’t up really In Richard Milward’s debut novel, Apples, you’dit think getsI knocked and ultimately throws mess. the baby into up theherself, river, Eve’s normal and prevailing as the ever so dreary weather of England. loads more tumultuous events not really worth mentioning—a know. Nevertheless, theare book themescondition in the livesgets of worse and she getsWhat madeupthis bookhot worthwhile was Richard Milward’s raw, hardcore partying, sex, drugged up, booze-guzzling teenagers, as explores such mother’s knocked herself, and Perhapsand it is,prevailing for I haveasnever beensothere and Iteenagers wouldn’t young inreally the port of Middlesborough northern story telling. normal the ever dreary weather of England. loads more tumultuous events not reallymatter-of-fact worth mentioning—a hotThe narrators were deliberately devoid know. Nevertheless, thenever book been explores such in the lives of What made book worthwhile was Richard Milward’s raw, to their accounts, in turn you don’t get England. Narrated by protagonists Adam and Eve, as wellthis as few of emotional attachments Perhaps it is, for I have there andthemes I wouldn’t really mess. young teenagers in the of explores Middlesborough incharacters, northern matter-of-fact telling. The narrators were deliberately devoid engaged more than they are—and that’s a great thing. (I wouldn’t secondary a streetlamp, and a butterfly, tells story the know. Nevertheless, theport book such themes in the lives of Whatitmade thisstory book worthwhile was Richard Milward’s raw, England. Narrated Adam and Eve, as well as few of emotional their accounts, in youemotionally don’t get and mentally involved in Milward’s want to turn get too of modern-day, not-so-commonplace English teens andattachments their young teenagers in by theprotagonists port of Middlesborough in northern matter-of-fact story telling.toThe narrators were deliberately devoid engaged moreattachments than they are—and that’swayward a great thing. (I don’t wouldn’t secondary characters, streetlamp, Adam andlifestyles. a butterfly, story andyou raucous and England. Narrated by aprotagonists and Eve, itastells wellthe as few of emotional to their accounts, in turn get misfits of characters, thank you very want to the get too emotionally and mentally in Milward’s of modern-day, not-so-commonplace That would require more effort than one could yield.) You The teens story—there tell you truth; Apples more than they are—and that’smuch. ainvolved great thing. (I wouldn’t secondary characters, a streetlamp, andEnglish a butterfly, itand tellstheir thewasn’t story much of it, to engaged wayward and raucous and misfits of characters, thank you very lifestyles. is a collection of vignettes that, although chronologically become merely a witness of how their their lives pan out, neither want to get toosequenced, emotionally and mentally involved in Milward’s of modern-day, not-so-commonplace English teens and their much. That require more effort than one could yield.) Youyou get to appreciate them more that way, The story—there wasn’t much of it,imposes to tell you truth; Apples an the impression of walking along that proverbial long and caring much noryou less, and wayward andwould raucous and misfits of characters, thank very lifestyles. is a The collection of vignettes although sequenced, become merely a witness howeffort their their panwere out, neither road goes nowhere. Fortunately, youwould have to Ithan find.lives There parts of the book that fondly regard: I especially much.allThat requireofmore one could yield.) You story—there wasn’tthat, much of it,winding tochronologically tell you thewhich truth; Apples imposes an impression of walking alongknow that proverbial long caringteenager much nor andof you gettheir to appreciate them moreneither that way, of the butterfly and the streetlamp, is this: Adam, anand awkward, socially-inept with a case adored the descriptive accounts is a collection of vignettes that, although chronologically sequenced, become merely a less, witness how their lives pan out, winding road which goes Fortunately, all have to find. There wereless, parts the get book fondly regard: ofthat OCD, andyou gets constantly father, is madly and it was cute; on more theI especially other imposes an impression ofnowhere. walking along proverbial long and beat up by hisIcaring much nor andofyou to that appreciate them that hand, way, there was a particular chapter where know is this: an awkward, teenager with aEve, case the too-hot-to-handle the descriptive of the butterfly and the hopelessly lovehave withto blonde Eve’s dyslexic friend narrates and it was read backwards (.sdrawkcab winding roadAdam, which goes nowhere.socially-inept Fortunately, allinyou Iadored find. There were partsaccounts of the book that fondly regard: Istreetlamp, especially of OCD, and gets constantly beat up by his father, is madly and it was cute; on the other hand, there was a particular chapter where nwod sgniht I yllatnediccA) because, you guessed it, she was bombshell and every Evethe however is tooaccounts of the butterfly know is this: Adam, an awkward, socially-inept teenager withstraight a case boy’s wet dream. adored descriptive and deipoc the streetlamp, hopelessly in love Eve, the blonde Eve’s dyslexic friend narrates it was read backwards too gorgeous, even Adam’s dyslexic. I hated it(.sdrawkcab withwhere a passion and I skipped it altogether. This of OCD, and gets with constantly beattoo-hot-to-handle up bycool, his father, is madlytoo andsuperior for her toit was notice cute; on the other hand,and there was a particular chapter nwod sgniht deipoc I yllatnediccA) because, you guessed it, sheforwas bombshell and every straight boy’s wet dream. Eve however is too admittedly(.sdrawkcab not everybody; Apples exploits strong explicit existence. Eve however is too cool, too gorgeous, too superior hopelessly in love with Eve, the too-hot-to-handle blonde Eve’s dyslexic friend for narrates and it wasbook readisbackwards cool, too gorgeous, superior forwet herher to to even notice Adam’s dyslexic. I hated it with a passion and I themes skipped itguessed altogether. This and unapologetically even notice Adam’s Eve’s mother nwod sgniht deipoc I was yllatnediccA) because, you it, she was so. If you don’t like teenagers engaging bombshell and everytoo straight boy’s dream. Eve however is tooexistence. Incidentally, book is admittedly not for everybody; exploits strong explicit existence. Eve however is too cool, gorgeous, too superior foris dying, but that in sexual alcohol, and drugs, I doubt you would like this with cancer doesn’t from cool, too gorgeous, too superior for too herdiagnosed to even notice Adam’sand dyslexic. Istop hatedher it with a passion and IApples skipped itactivities, altogether. This themes unapologetically so. If youApples don’t like teenagers engaging her to evenEve notice Adam’s existence. Incidentally, Eve’s mother was and getting mortalled book. her going out her friends every so often. book is and admittedly not for everybody; exploits strong explicit existence. however is too cool, too gorgeous, toowith superior for in sexualand activities, alcohol, doubt you would like this out Milward’s reference to Apples and diagnosed cancer and existence. is dying, but that doesn’t her from Eventually thestop two establishes Adam grows a and In like the end I never found themes unapologetically so. drugs, If you Idon’t teenagers engaging her to evenwith notice Adam’s Incidentally, Eve’s mother was a friendly relationship, book. her going out her and friends and getting mortalled every sostands often.up to his father, andstop finally of activities, Eve’s friends butlike perhaps in one sexual alcohol, and drugs, IAdam doubtand youEve, would this I’m just reading too much between the diagnosed withwith cancer is dying, butbackbone that doesn’t her from Eventually thewith two her establishes a friendly Adam In the end I never found out Milward’s lines.reference to Apples and book. her going out friends and gettingrelationship, mortalled every sogrows often.a backbone and finally stands up to his father, one of Eve’s friends Adam and Eve, but perhaps I’m just reading too much between the Eventually the two establishes a friendly relationship, Adam grows a In the end I never found out Milward’s reference to Apples and lines. and Eve, but perhaps I’m just reading too much between the backbone and finally stands up to his father, one of Eve’s friends Adam lines.


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There are many different ways to look at Argo. There are many ways to see it, and there are many ways to write There many different ways to look at Argo. There areare There different ways to look at Argo. There about it.are Asare a many historical vehicle, it can be judged by how many ways to see it, and there areare many ways to write many ways to the see it, and there ways to faithful it was to true story thatmany provided itswrite narrative. about it. As a historical vehicle, it can be be judged by by how about it. As a historical vehicle, it can judged how Asfaithful a period piece, it true can story be criticized for how well it it was to the thatthat provided its narrative. faithful it was to the true story provided its narrative. recreated the mood and the political climate of the As As a period piece, it can be be criticized forfor how wellwell it it era in a period piece, it can criticized how which the narrative happened. As an Academy recreated thethe mood and thethe political climate of the eraera in in recreated mood and political climate of the which thethe narrative happened. an Academy Award-winning movie, it can As beAs put in the spotlight not which narrative happened. an Academy Award-winning movie, it can be also putput infor the spotlight notnot Award-winning movie, itbut can be inits the spotlight only for its craftsmanship relevance and only forfor its craftsmanship butbut alsoalso its relevance andand only its craftsmanship for its relevance how well it stood out amongst allforthe other contenders. how wellwell it stood outout amongst all the other contenders. how it stood all the contenders. But intrinsically, Argoamongst as we know itother is not what ButBut intrinsically, Argo as we know it isitnot what intrinsically, Argo as we know is not what “Argo” really isis about. Argois isthethe science fiction movie “Argo” really about. Argo science fiction movie “Argo” really is about. Argo is the science fiction movie about aliens taking over planet, an unlikely unlikely hero about aliens taking over aaplanet, andand an an unlikely hero about aliens taking over a planet, and hero who inspires his people their home. Argo who inspires his his people totofight forfor their home. Argo is is is who inspires people tofight fight for their home. Argo CIA-funded Hollywood movie with thethe extravagant thetheCIA-funded Hollywood movie with the extravagant the CIA-funded Hollywood movie with extravagant intergalactic costumes and set designs. Argo is the crazy intergalactic costumes and set designs. Argo isisthe intergalactic costumes and set designs. Argo thecrazy crazy ideaidea no no one wanted to pick up,up, consider, andand make wanted pick consider, idea no oneone wanted to to pick up, consider, andmake make possible. It was the movie thatthat waswas shelved, andand possible. It was movie shelved, possible. It was thethe movie that was shelved, and ultimately never really gotgot made. It never gotgot thethe chance ultimately never really made. It never chance ultimately never really got made. It never gotwhere the chance to become anything—except of course the part it it to become anything—except of course the part where to wanted become of course the part where it to anything—except create a spectacle. It did, andand it was; so much wanted to create a spectacle. It did, it was; so much wanted tothan create spectacle. It did, it And was; so much more than what ita was hoping itself to and be. And perhaps more what it was hoping itself to be. perhaps thisthis is the bestbest way thisthis movie should be viewed: as perhaps aas a more than what itway was hoping itself tobe be.viewed: And is the movie should spectacle, a show, a this performance. Argo was an elaborate, a way show, a performance. Argo an elaborate, this isspectacle, the best movie should bewas viewed: as a ambitious scheme thatthat hadhad politics forfor its script andand thethe ambitious scheme politics script spectacle, a show, a performance. Argoitswas an elaborate, whole world as its them even knowing whole world as audience—without its audience—without even knowing ambitious scheme that had politics forthem its script and the yet.yet. whole world as its audience—without them even knowing To To appreciate it asit the spectacle thatthat it was, we we have to to appreciate as the spectacle it was, have yet. look at all its basic elements. look at all its basic elements. conflict? Ait rescue to be made for thethe sixwe ToThe appreciate as thehad spectacle that it for was, The conflict? A rescue had to be made sixhave to American diplomats who found refuge in the house of of look at all its basic elements. American diplomats who found refuge in the house the Canadian ambassador the November 1979 the Canadian ambassador after 1979 The conflict? A rescueafter had tothe be November made for the six hostile takeover of the USUS Embassy in Tehran. hostile takeover ofwho the Embassy in Tehran. American diplomats found refuge in the house of TheThe unlikely hero? Tony Mendez, a CIA exfiltration unlikely hero? Tony Mendez, a CIA exfiltration the Canadian ambassador after the November 1979 specialist who takes a cue from thethe sci-fi explosion in the specialist who takes a cue from sci-fi explosion in the hostile takeover of the US Embassy in Tehran. 70s.70s. The unlikely hero? Tony Mendez, a CIA exfiltration specialist who takes a cue from the sci-fi explosion in the 70s.

The script? The hostages will be masquerading as Canadian filmmakers scouting for an exotic Middle TheThe script? TheThe hostages willwill be be masquerading as as script? hostages masquerading Eastern location for their science fiction movie. Canadian filmmakers scouting forfor an an exotic Middle Canadian scouting exotic Middle Asfilmmakers with all elaborate schemes, this one is received with Eastern location forfor their science fiction movie. Eastern location their science fiction movie. much skepticism. Afterthis all,one notisonly are the lives of these As As with all elaborate schemes, received with with all elaborate schemes, this one is received with six people at risk here, but so is the very status of the much skepticism. After all, all, notnot only areare thethe lives of these much skepticism. After only lives of these United as but asopolitical powerhouse. On the one hand, six six people at risk here, but is very status of the people at States risk here, sothe is the very status of the United as aas powerhouse. the oneone hand, itStates wants topolitical itspowerhouse. citizens On and refuses tohand, be bullied by United States arescue political On the it wants to rescue its citizens andand refuses tonot be bullied bytobyrisk any it wants tobut rescue its refuses to be bullied Iran, on thecitizens other, it could afford Iran, butbut on on thethe other, it could notnot afford to risk anyany Iran, other, afford to risk more damage toititscould already precarious relationship with more damage to its precarious relationship with more damage to already its already precarious withIt is too the Middle East, as well as thatrelationship of Canada’s. thethe Middle East, as well as that of Canada’s. It isIttoo Middle East, as well as that of Canada’s. is too outrageous, they say. It is a bad idea. outrageous, theythey say.say. It isItais bad idea. outrageous, a bad idea. it isbest thebad best bad idea Tony Mendez could come ButBut it isitBut the best bad idea Tony Mendez could come is the idea Tony Mendez could come upThey with. areout running out time as the Iranian up up with. areThey running of time as the Iranian with. They are running out of time asofthe Iranian hostage-takers learns thatthat theythey are missing six six embassy hostage-takers learns that they are missing hostage-takers learns are missing embassysix embassy personnel, andand set set out toset immediately findfind them. It find isIt is them. It is personnel, out to immediately them. personnel, and out to immediately precisely thethe Argo operation’s absurdity andand precisely Argo absurdity precisely the operation’s Argo operation’s absurdity and ridiculousness thatthat makes one think thatthat perhaps it cancan ridiculousness makes think perhaps ridiculousness that one makes one think thatit perhaps it can work. It has to. to. So So Tony, with thethe help of Oscar-winning work. It has Tony, with help of Oscar-winning work. It has to. So Tony, with the help of Oscar-winning makeup artist John Chambers, and film producer Lester makeup artist John Chambers, and film producer Lester makeup artist John Chambers, andfor producer Lester Siegel, sets up up a fake production company for a film fake film, Siegel, sets a fake production company a fake film, Siegel, sets upingredients—script, aingredients—script, fake production company butbut with all the actual actors, andandfor a fake film, with all the actual actors, press events. TheThe whole thing is nothing butbut absurd. but with all the actual ingredients—script, press events. whole thing is nothing absurd. actors, and TheThe thing about thethe treatment the spectacle in this thing about treatment of the inbut thisabsurd. press events. The wholeofthing isspectacle nothing movie, however, is that it doesn’t try try tootoo hard to become movie, however, is that it doesn’t hard to become The thing about the treatment of the spectacle in this outrageous. It letslets thethe location and thethe situation set set it up outrageous. location situation it up movie, Ithowever, is thatand it doesn’t try too hard to become forfor itself. TheThe urgency is evident on on both sides: thethe itself. urgency is evident both sides: outrageous. It lets the location and the situation set it up Iranians areare getting impatient, thethe Americans areare getting Iranians getting impatient, Americans getting for itself. The urgency is evident on both sides: the hopeless. As days go by, the stakes become higher, and hopeless. As days go by, the stakes become higher, and thethe movie needed no no explosions or dramatic Iranians are getting impatient, the Americans are getting movie needed explosions or dramatic confrontations to establish AllAll throughout thethe higher, and hopeless. Asestablish daysthat. gothat. by, the stakes become confrontations to throughout movie, random sound bites from news reports movie, random sound bites news reports regarding the movie needed nofrom explosions orregarding dramatic thethe hostage crisis setssets thethe mood forfor an an impending hostage crisis mood impending confrontations to establish that. All throughout the tragedy. TheThe harmless observation of thethe Canadian tragedy. harmless observation Canadian movie, random sound bitesoffrom news reports regarding ambassador’s native housekeeper thatthat their “Canadian ambassador’s native housekeeper their “Canadian the hostage crisis sets the mood for an impending tragedy. The harmless observation of the Canadian ambassador’s native housekeeper that their “Canadian




guests never leave the house” highlighted the growing uncertainty to the number of people to be trusted. And the ruckus in the bazaar after one of the Americans innocently takes a picture of a store came about so naturally—it is a clashing of cultures, as some countries find taking photographs of their merchandise without permission is discourteous—but it highlights how these two opposing sides can no longer tolerate the seeming invasion of each other’s spaces. The film is quiet and gradual in its rise. It underscored the fear and the tension that need not to be acknowledged, as it is present and looming from the very beginning. In the last few minutes of the movie, as they try to overcome the last hurdle of their exodus that is their boarding, the tension was palpable, as only two characters, one Iranian and one American engaged in a conversation about the sci-fi flick. The alien invasion and

spaceship explosions seemed too incredible to fathom, the same way this entire charade was to the rest of the hostages, awaiting their escape with bated breaths. As such, the already ridiculous idea of a phony Hollywood movie became even more outlandish – but also so madly encouraging, desperate for some sort of triumph despite the odds. The real spectacle of Argo is that it manages to create such huge waves despite very little noise. It is a worldwide success despite the absence of a conscious audience.Argo, the science fiction movie managed to do just that in 1980.Argo, the 2013 Academy Award winner for Best Picture did exactly the same. It needed no fuss or tricks other than the fake movie itself to finish what it set out to do: to create a story that people will believe and hold on to, with enough panache to outwit its audience.

PRIMER Only few movies can make you bring out your thinking caps. Primer is without a doubt top of that list. Shane Carruth—who wrote, directed, edited, photgraphed, scored and stars the film—has created masterpiece, transforming his low budget into a taut and staggeringly cold and claustrophobic thriller about two men who unexpectedly create a machine that can cause limited time travel - and as we all know from "Back to the Future," messing with time is not something that should be taken lightly. Primer is produced with a meager sum of $7000 which is barely enough for TV commercials’ budget and Carruth managed to make it look flawless. The film is, technically speaking, science fiction, but of an unfamiliarly meticulous and modest nature. Carruth, a math major in college who worked as an engineer before teaching himself filmmaking, has an impressive feel for the bizarre, silent rhythms of small-scale research and development. For someone who briefly studied Physics before creating the film, his script seizes the way these young scientists manifest themselves and takes note of how their close-and-personal, competitive collaboration works in fits and starts and sideways leaps.


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The film never appeared of poor quality, because every shot looks as it ought to look. Primer is likely to turn viewers into your own impression of main characters Abe and Aaron; forcing you to need to sit down and create charts, tables and long equations. Carruth has his own way of inventing something so compelling—his way of capturing, on film, some of the delight and danger of scientific query — and you don't require to have a time machine to foresee that as he goes on, he will discover exciting new ways to put it to use. What Primer does so well is that it realize that nothing is for free. There's always a price to power or in any other way.


April 2013 Issue 14 Edited by Lambert Cruz

The 20/20 experience by Alfonso Bassig

A night with dia

by Lambert Cruz and Ellie Centeno

Stars live in manila by Ecks Abitona

+ album reviews on save rock and roll by lambert cruz bankrupt! by lambert cruz bad blood by alfonso bassig



The 20/20 experience reviews

THE 20/20 experience We all danced to his songs ever since his boy band days. Now, Mr. Sexy Back is back and now he’s better than ever. Writen by Alfonso Bassig.

“I’m ready,” Justin Timberlake ended the minute-long video he had released days before the launch of Suit & Tie, the debut single from his first studio album in seven years, The 20/20 Experience. Needless to say, much is expected from the former *N SYNC lead singer who started a pop revolution with how he pulls off that Prince/Michael Jackson channeling, in line with his octave-breaking false vocals. It is one thing to “graduate” from a boy band and start a solo career with debut Justified, but it’s another to team up with


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Timbaland with FutureSex/LoveSounds and give the world the complete opposite of a sophomore slump. After two albums that changed the face of 21st century pop, 20/20 is all about keeping the momentum. Or at least it should be. With that said, Justin Timberlake may have put up himself as the biggest opponent of his comeback. And without making a pun referring to ex-lover Britney Spears—this is him against the music.

reviews the 20/20 experience

After the The 20/20 Experience sold almost a million units on its first week, it goes to show that those fangirls and pop music enthusiasts in general missed the old guy. But if you’re looking for music that will follow up the innovation of FutureSex/LoveSounds, then this definitely is not for you. Heavily-orchestrated album opener (and obviously an ode to wife Jessica Biel) “Pusher Love Girl” rubs that in your face right after hitting that play button. Of course those steamy innuendos, enticing come-ons, and that trademark Timberlake falsetto are still intact, but he is back with a fresh arsenal of musical perspectives. Timberlake’s added complexity is highly impressive but may leave listeners who expected an early 2000’s *N SYNC recollection disappointed. JT did go back in time, though, but went too far—60’s far. Much like how Beyonce did it in glamorously-retro 4, Timberlake veered away from standard pop synths and bathed the tracks with a good spanking from the horns section, leaning to a more classic Motown vibe. One of Timberlake’s contemporaries, Bruno Mars, recently released Unorthodox Jukebox which incorporates the same elements—authentic R&B and old-school charm. There’s nothing like going back to their roots for these mainstream artists and it may just spark the shift to a throwback pop paradigm. In radio friendly seventh track “That Girl,” Timberlake croons underwear-dropping rhyme-laden verses as he struts throughout the song a la Marvin Gaye. The finger-snapping cunnilingus runs for 4 minutes and 48 seconds and is, surprisingly, the shortest off the album. Almost all the tracks have double the duration of a standard pop song—which in the experimental sense may actually sound promising, but for someone who’d want something head-on like Rock Your Body and SexyBack, it comes across as dragging. The formula goes like this: Timberlake gets more or less four minutes to sing the song proper and the rest: a repitition of the chorus lines that starts off as earworm, but slowly burns out. We have talented DJ’s like Steve Angello & Sebastian Ingrosso to do those lengthy blends (groove to their 10-minute My Love mix) and remixes are better off as add-ons for the deluxe edition. It’s obvious how 20/20’s production might have been pushed too hard, rendering most tracks climax-less as they pass the 6-minute mark, but one should know that the album’s overall sound is nowhere near terrible. As with Timberlake’s new do, the record is brushed back, glossy, and nothing short of sleek— all credits go to powerhouse producers Timbaland and J-Roc for elevating JT’s sound from post-*N SYNC dance pop to sleazy-yet-sophisticated neo-soul.

When you’ve got big guns like Timbaland to produce a 10-track record that spans a whopping 70 minutes, the best thing to do is fill it with words that do the eclectic production justice. Timberlake has that amount of space to show off, but utilizes it poorly. For some reason, it’s when he tries to break free from the grasp of cliché that he sounds silliest—see “Spaceship Coupe” and “Strawberry Bubblegum” whose backing tracks, if sampled by, say, Miguel would teach JT a thing or two about less-feeble flirtatious lyricism. But for the relief of Timberlake’s songwriting, he picks out the perfect moment to be at his most poetic with album-closer “Blue Ocean Floor” chanting “Frequencies so low / Heart on a string /A string that only plays solos..” Just when you thought JT has used up all the tricks up his sleeve, Questlove, drummer/co-founder of Grammy award-winning band The Roots, revealed in his music forum site that Timberlake’s latest effort is a two-part record. According to him, another set of ten will be released in November, thus, completing (and explaining the name behind) The 20/20 Experience. Timberlake later confirmed the statement, and it’s been the talk of social media since then. Questlove starts the conversation off by calling the album “overly ambitious” and the move “ballsy,” yet applauds it for being so. JT is taking this comeback seriously, pulling out all the creative stops to push through such a concept. However, this may turn out to be a two-way street. Solid fans of his music would buy that sequel in a gunshot but the other half that got to scrutinize the flaws of part one would probably be less excited. Ergo, there is a chance that album sales will be taking the blow here—that is, unless Timberlake guarantees a relief from the record’s early shortcomings. Whether the album fell short or not—a comeback is a comeback, and JT’s would never be one that won’t sell. Still, that’s definitely no excuse for making music that doesn’t fully deliver. If anything, unless the second half is already mastered and ready for shipping, Timberlake should remedy the flaws of CD1—namely second-rate songwriting and excess run time—and go apeshit on those ten other tracks. Pick out the best one, release it as a knockout promotional single—maybe throw in a video as classy as Suit and Tie’s—and leave the world craving for more. If listeners won’t take this as a risk worth taken, they should at least see the record as a documentation of Timberlake reinventing himself. It’s been six years, and fans of the old JT should start realizing that the music is moving with the times, and so will he. Yes, the gambles he took sent him dangling in a tightrope, but there’s that album’s part two to cushion the fall. This is just the beginning of the experience, it might have not been that 20/20, but you can tell by his guts that Justin Timberlake is indeed ready.


a night with DIA AUDIOPHILIA

A NIGHT WITH DIA The Voice Season 1 contestant, Dia Frampton, sits down with Lambert Cruz and Ellie Centeno in Jam 88.3’s booth, days before her first ever show in Manila. Transcribed by Alfonso Bassig. Photos by Maine Manalansan.

Aside from finishing second on the inaugural season of The Voice US, you might recognize Dia Frampton as the lead vocalist of sibling-powered alternative pop/rock band Meg & Dia. Being somewhat underground, she only auditioned in the hit reality show hoping that it’ll be a nice platform to promote Cocoon, her band’s fourth studio album. Little did she know that with the push of Blake Shelton’s button—and not to mention that killer Kanye West cover in the quarter finals—her career was to be put on overdrive. Lucky for us, on the day prior to her Hard Rock Café Makati gig last January, Dia dropped by the Jam 88.3 studio to have a chat with our guys Lambert and Ellie on air. With a couple of acoustic performances in between, she gave us the scoop on her The Voice journey, upcoming novel, musical influences, solo debut album Red, New Year resolutions, and a weird mishap that involves an overly-obsessed fan.


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Stache: Welcome to the studio! Dia: Aw, thank you! S: It’s a funny story, actually, how everything worked out. But you came from a couple of countries here in Asia, how was your tour like so far? D: It’s been incredible. I started out in Vietnam, and I went to Singapore, and now I’m here. And I really really love Asia. S: And this is your first time in the Philippines? D: Yes, ever. I’m just.. I’m really excited.

AUDIOPHILIA a night with DIA

S: What made you decide to join The Voice? D: Man, honestly… a bit of desperation. I have been playing in a band for a really long time. I started my first band when I was 14—I’m 25 now so I’ve really made the rounds in the music industry. I’ve been on a label, dropped from a label, on an indie label, kinda bounced back and forth. It finally got to the point where I was in New York and I released an album independently and it was just so hard to get it out there. We didn’t have any money to tour. I was working in a cupcake shop in New York, and then my manager called me up and said, “You should try out for the show!” and I just kinda found myself in it because I think people often ask me why didn’t I try out for any other singing show and I think I was always too afraid. Since I didn’t know what The Voice was, I couldn’t be afraid because I didn’t know exactly what was happening. Like in my head, I thought it was just gonna be like a little karaoke show on you know, at 5am every night in a local channel. I had no idea. When I first saw the commercial that they put out, ‘cause when I auditioned they hadn’t even picked Blake Shelton as a coach. It was really just being put together. When I saw the first commercial I didn’t even know... my jaw dropped. It looks like a real show, you know! And I just couldn’t believe that I was in the middle of it. S: Can you describe you experience in The Voice in less than ten words? D: Less than ten wor—Oh does that even count? [laughs] Um.. Blake Shelton. Lucky. Grateful. Dresses. REM—does that count as one? Kanye West.

And things besides music: my New Year’s resolution is to finish a book. I’ve been working on it for 3 years, it’s a dark romance about a guy who died and he’s in hell and his wife went somewhere else so he’s trying to find a way to get to her. S: It’s like for the young adults? D: No. I do write a lot of kids’ books ‘cause I have a lot of little sisters but this one’s kinda my own baby so it’s gonna take a while. So I’ve been working on that, and then I want to be able to do five push-ups—baby steps! I think I can do three, it’s so embarrassing! S: Maybe can you tell us about your craziest fan story, maybe? Or most memorable? D: Oh, I actually feel like I can say this since I’m in a different country because I’m kinda too freaked out to say [this] in America. There’s this one guy who’s kind of a stalker and he would just always bring presents [which gets] a little overbearing after a while. And then he wrote me this really long letter about how his wife hates it that he listens to my music all the time and writes me postcards and stuff and it’s breaking up his marriage but he doesn’t care. And I remember I was just sitting—I think I was in Maine—in the tour van and was just thinking to myself, “Oh my gosh, this is so weird!” I had no idea what to do so I just kind of ignored it and hoped that it would go away. S: We actually invited that guy right now! He’s right outside! D: Perfect! Perfect! Here he is! [laughs]

S: Okay, you got [eight]! D: Coffee. S: There you go!

S: Do you have a favorite song out of Red? D: Yes I do, I really like the Broken Ones. We’re gonna play it for a little bit later. It’s the most special.

S: Since the competition, how has it been for you and what have you been busying yourself with other than singing? D: Um, since the competition, I just feel like a lot of doors have been opened to me that was kinda pushing on my whole life. Even just being overseas in Asia—I’ve always wanted to tour over here. Even when I was like nine years old. My dad used to be a radio DJ in Korea [and] my mom’s Korean—I’m half-Korean. And it was always kinda my goal ‘cause he’d always say “You know I wanna take you to Korea and have you sing over there” and all those stuff so I’ve always really wanted to come over to this region. I got an opportunity to sing in Korea last month and it was just really really incredible.

S: Can you tell what inspired you to write Broken Ones? D: I was in Nashville at that time and I was writing with this amazing, so inspirational [songwriter]. His name is Tom and he’s just been around songwriting for forever. I met up with him and we instantly clicked and just got along really well. We wrote that song and it wrote itself, really. And that’s kind of the beautiful thing about it. Sometimes I feel like I’m pulling teeth trying to finish a song [because] I’m just so self-critical, but it was just really great to [work] with him and this guitar player Ross, and we were all just, it felt like we were just jamming together, and it felt so effortless and it was just kind of a really special moment.


a night with DIA AUDIOPHILIA

S: After the Philippines, where will you be travelling next to? D: Thailand.

S: Which track from Foster the People? D: Pumped Up Kicks

S: And would that be in your Asian tour? D: No, Malaysia and Indonesia.


S: What are your plans after your Asian tour? D: I’m working on a new record. I’ve started writing a lot. And I think I’ve written maybe like, 25 songs. I only like one of them, though. So it’s not really like it’s big as the other songs. S: Who do you listen to? Like, who is on your iPod right now? D: Man, Damien Rice! It started raining in Los Angeles for a week, and it doesn’t rain there very often. I just got so into Damien Rice and just he makes me feel so sad and I just love the feeling that it gave me in a weird way and so that really inspired me. And I’ve been listening to a lot of Tom Petty. I’m just forever a fan. I once bought a t-shirt off the back of somebody just walking with a Tom Petty t-shirt. It’s smelled really bad so I had to wash it a few times. And I was on tour so I actually like, stuck it in a water jug and just shook it up for a little bit. S: —With soap? D: Yes, yes, with soap. [laughs] Well getting back to the point.. oh man, I like a lot of.. oh I listen to everything. I actually really like pop music, too. I really like Lady Gaga, and I went to a Bon Iver concert. S: We heard your cover of Skinny Love, actually. That was pretty awesome! D: He’s so good! I mean, I was blown away by the concert, so good. S: Yeah, and the cover of Mumford and Sons, that was really good. Dia: I really really like them. S: Is it possible if we could hear a cover, maybe? Dia: Sure! We were actually practicing a Foster the People song the other day. But we literally just started so if I mess up the words a little bit, is that bad? S: No no, with your voice like that? It’s never gonna be a mess! D: Yesterday when the second verse was starting we were playing in Singapore, I kind of just pretended like I was walking around ‘cause I can’t remember the words.


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S: If that’s what you call messing up, then I wanna mess up, like, all the time! D: I remembered the words for the first time today! I was in deep concentration, though, so if I looked cross-eyed sometimes when you were looking at me.. throw it aside S: [laughs] If you were to have a collabo with anybody, dead or alive, who would be on top of your mind? Aside from Tom Petty. D:Aside from Tom Petty? Yeah, that was a given. Oh man, so many people I really love. Oh, oh, Sigur Rós, totally. I probably said their name wrong, which is terrible. Sigur Rós, says the person from the UK. But I love that album and I love it how he doesn’t even sing in a language half the time. S: He’s Islandic, right? Dia: Yeah yeah, and he just makes the craziest noises with his voice which are so beautiful! S: Yeah, beautiful noises! D: I think it’d be so fun! And you know, I like to do a lot of fun music lately. I would love to do something with like, a rapper. S: Do Snoop, maybe? Yeah, that’d be wild. Or Kanye West! D: My mom would absolutely faint if I did something with a K-pop band. Oh my gosh, my mom would be like, my biggest fan ever. S: Didn’t you have like, a cover of.. D: Lonely of 2EN1. My mom was so happy! Yeah, she loves any Korean singing or Korean art. I think we got her a Harry Potter in Korean for Christmas. S: Can you speak Korean? D: I can speak very little. I’m kind of working on it and the things I can say are very limited, so it’s not very “well” as far as conversation goes. ‘Cause I’ll say like, [speaks Korean] S: Oh, what was that? It sounds so cute! Dia: It means “something’s on the table.”

S: [laughs] How can you use that, though.. D: [speaks Korean] S: Damn. D: “Your hair is brown.” That’s the thing is I should be learning you know, “How are you,” “I want to order this,” but instead I’m like, “Your computer is on the table!” “Your hair is brown!” “Flowers are pink!” S: Last question, well your New Year’s resolution is to do like, five push-ups, right? Anything else?

D: Finish my novel—I think I said that already. Umm, I think—this sounds really stupid, but I kinda just wanna become a better person. I don’t think you should be vague about things like that. I think, just as far as communication goes—I don’t think before I speak very often, and I think I’m a little bit too blunt with people that are closest to me. You know how sometimes people say that you treat people close to you the worst, and you’d treat strangers better? It’s kinda like that thing where I just feel like I could be a better person. And also keep in touch with my family better ‘cause I’m touring so much. My mom would e-mail me seven times and I’d be like “Crabbing through the airport mom I’m tired I love you bye!”


a night with DIA AUDIOPHILIA


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AUDIOPHILIA a night with DIA

“Since I didn’t know what The Voice was, I couldn’t be afraid because I didn’t know exactly what was happening. Like in my head, I thought it was just gonna be like a little karaoke show on you know, at 5am every night in a local channel. I had no idea.” I Facetime-d with her the other day and it was really scary ‘cause she had cucumber mask on, and she doesn’t really know how to us electronics so she yells. She’s like, “HOW ARE YOU DOING” “Mom, I could hear you, it’s an iPhone! It’s 2013, it’s okay!” Yeah, these little things to keep in touch and being more kind and patient—not that I’m making myself out to be a tyrant, hopefully. But just you know, being a little bit more aware. S: Do you have time to tour the country? D: Oh my gosh, there are so many amazing things here that I’ve been looking up and people have been telling me, and following that is like, “Oh it’s a 4-hour plane ride or a 2-hour plane ride” and “this amazing beach with white sand and beautiful palm trees… oh it’s 2 hours away.” I don’t really know what to do in this city with the time given.

S: A message to the Filipino fans? All the people who are tuned in right now? D: I would like to say thank you so much for all your support. And honestly the reason why I’m here is just through word of mouth and through the people, really. I had booked my Asia tour and I was trying to get to the Philippines and it was so last second! And it’s just like, I’m here because I tweeted at you! You tweeted at me! And I was up late for that! ‘Cause the time changes so different, I got so excited. So it’s just about reaching out to people and having them respond. You know, so people like you and just everybody on Twitter, they gave me great examples—that’s not the right word I’m thinking of, but—of places to go, people to call, venues, promoters; and it was just really cool to have everybody help me come over here. So thank you so much.

S: Maybe you should come back for a vacation? D: I know, I know!

S: Dia, thank you very much for swinging by the studio! I know we said like, two songs, do you think we can squeeze in another? D: Sure!

S: We would love to take you! D: I will never do vacation, though, ‘cause I’m always working. So even if I do come back I’ll say “I wanna play a show here!” But you guys can still take me to the beach! I wanna see the little baby monkeys with the big eyes!

S: Just to wrap up this interview, what’s the last song we’re gonna hear from you? D: this song is called Isabella, and I wrote it about my little sister.

S: Yeah, we’ll go to Bohol! Okay, let’s talk about your album. Invite people to grab a copy. Is it available online? D: Yeah, it’s available at and it’s also available on iTunes Philippines. You can get it in record bars, too, nation-wide. S: Are you gonna release a vinyl? D: Oh my gosh, I love vinyls! You know what’s so depressing is when kids come up—‘cause it makes me feel really old—and they say, “Oh my gosh, I didn’t know you had a calendar!” And I’m just like, “Yeah.. uhh.. no.” Yes, it is on vinyl! I think you can get that on my merch store but I don’t think it’s available here yet. But I’m glad you’re a vinyl fan!

S: Now I wish my name was Isabella.. D: Her name is not actually Isabella; her name didn’t sound as well singing [laughs] S: Oh, burn! [laughs] D: So I was like, “This is your secret name” so it made her feel pretty special. But I have a lot of little sisters so I don’t I didn’t tell the rest that that was for her. You can’t play favorites, know what I mean? But thank you so much for having me, and this is my last song. -Special thanks to Michael Kaminsky, Amanda Yim, Meredith Schoenberger and Grace Foronda of MCA Music - UMG



A Film Photo Diar

Special thanks to Eric P


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ry by Ecks Abitona

Perpetua and Joff Cruz




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PLAYLIST April 2013

SAVE ROCK AND ROLL Put on your war paint, young bloods! The war drums of Fall Out Boy is striking again. Get the air guitars ready because the angsty-driven battle to Save Rock and Roll has begun. It’s the same hardcore punk kids writing pop songs with sensibility and an attitude. The sure shot hit makers drop eleven new tracks to boost your adrenaline like a stimpack to a marine. This album should be played loud. Fall Out Boy starts strong with ‘The Phoenix’. The first riffs come in with the angry sounding voice of Patrick Stump, bordering spewing saliva, and you ‘d know right away that this is going to be a 40 minute action packed experience. They mean business in saving the world from a heart attack. It’s a battle to keep making good music. It’s usually interesting to find out how it sounds like when artists collaborate genres. Hip-hop artist Big Sean

joins in ‘The Mighty Fall.’ It’s a brilliant cut and a marketing strategy. Their mighty metaphors bounce well around the influential beats. ‘Alone Together’ would be the perfect score for an indie flick between two young lovers fighting for each other. It’s a repeat button wrecker that you can lose your voice to. It’ll easily make a headphone favorite. ‘Save Rock And Roll’ features Elton John. The track has an intro like it was influenced by Gold Panda. This is the exclamation point of the album. It’s about going against the current to create a new sound while keeping the image. This defines why the album is titled as such, a call to action to save rock and roll. It’s a new chapter for Fall Out Boy. Save the harsh words critics. Listen to the entire album. This deserves a 9 out of 10. - Lambert Cruz

BANKRUPT! It’s been a few years since Wolfgang Amadeus won the Grammy Award that shot them to the world. The songs from the album are still radio favorites and the group has been headlining festivals then on. Phoenix just won’t stop giving their well-loved music and even drops a new record this month. And as usual, they won’t disappoint. You might not appreciate it on the first listen. The oriental sound that’s obvious in most of the tracks may even derail you a bit, but keep listening. It’ll grow on you. Then you’ll find the Phoenix you’re looking for. It’s a different path. Experimental is what others say. ‘Bankrupt!’ has 10 tracks and releases ‘Entertainment’ as the first single. Backed by its music video, the whole east Asian resonation is explained which infects other cuts in the album. Its genius arrangement is establishedeven when the songs are already about something else.

‘Drakkar Noir’ will reel you in with its upbeat sounding jingle and infectious wordplay on the chorus. And the way Thomas Mars sings the title will get you singing as easy as how the cologneboosted man’s confidence in the 80s. Nice joke on the ‘Drakkar Noir’ transition to ‘Chloroform’ too. If the first didn’t work, use the second one. ‘Trying To Be Cool’ slows down into a steady sense, but ‘Bourgeois’ brings you to a different level. The repetitive hooks of ‘SOS in Bel Air’ may be different but the playful beats and the drop are similar to ‘Girlfriend’. That’s a good thing. The album may not be for the world. It may not even be for the casual Phoenix listeners. Don’t expect that this will beat Amadeus. It might. But that will depend on you. This goes for 7 out of 10. - Lambert Cruz

BAD BLOOD Have you ever had that nightmare wherein the apocalypse itself was chasing after you? Well, if not, then you better give London-based band Bastille’s debut a listen—it may not sound like much of a nightmare after all. If the world were “right on schedule” with the Mayans, then Bad Blood would have been the perfect soundtrack. Feel the earth shatter as “great clouds roll over the hills” in opener Pompeii that tells of the destruction of a Roman city of the same name due to a 79 A.D. volcanic eruption. With a prelude as immense (and destructive) as the epoch it’s based on, Bastille sets the tone for the band’s overall sound—cinematic pop anthems alternative enough to appeal even to indieheads, topped off with Daniel Smith’s Chris Martin-like vocals that are as quirky as his quiff. There’s some smart juxtaposition in here; following Pompeii is a track that sounds much like its aftermath. Aptly-named “Things We Lost in the Fire” leaves listeners wondering whether they should be put off by the recurring theme of conflagration or Bastille’s just trying to tell a full-length story by embracing continuity. The album doesn’t have a running plot, though, but every chapter seems weighty enough to be an epic on its own.

Incorporating allusions from the Bible (Daniel in the Den), Greek mythology (Icarus), and even 90’s American TV (Laura Palmer); Dan Smith admitted in an interview that there is a lack of autobiographical content in Bad Blood as he prefers it that way. This might come off as dishonest lyricism for some but it proves Smith’s songwriting prowess as he fluidly shifts personas from track to track and still manage to evoke emotion. Bad Blood utilizes a wide array of instrumental sound—stretching from organic piano-driven ballads Oblivion and Overjoyed to soaring electro-pop hymns like Flaws and Weight of Living Pt. II, there’s one thing Bastille never fails to pull off—infectious big ass choruses. For the lack of a better metaphor, all the tracks’ hooks have all the right lures to put Bastille in all the fish’s crosshairs—displaying how Bad Blood’s immediacy makes it one of the year’s finest releases. A classic crossover from the complexity of alternative rock to the more generic pop terrain, Bastille caters to various tastes, and is on their way to conquering charts faster than you can say “apocalypse.” - Alfonso Bassig


KATARZYNA JAGIELNICKA Katarzyna is a 19-year-old self-taught illustrator, currently based in Poland. She’s been drawing since a few years now, trying to develop her skills and take part in as many competitions and exhbitions as possible. As time goes by, she works hard to pursue her dreams and elaborate her very own style and technique.


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April 2013 Issue 14 Edited by Ecks Abitona

featuring We Are All Animals by Pawel Grabowski Skirts and Stairs by JC Santiago From Turkey with Love by Heiko Laschitzki Uneven Grain by Mayee Gonzales



Photography: P Styling: Joa MUA: Izabel Hair: Tymoteus Models: Samia Grabowska, Kla Kasia Wiewio


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Pawel Grabowski anna Bojanek la Radwańska sz Pięta Models: audia Kozik, Samia Grabowska, or, Lilianna Gra j



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Photographer: JC Santiago of Chestknots Studios Stylist: Joanna Santillan Model: Ashley Ramos HMUA: Lea Vanessa Ancheta


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Black dress (as top): Glitterati Skirt: Abrille Accessories: Wear Mauve Shoes: Gold Dot



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One Piece Bikini- Glitterati Skirt- Glitterati Accessories: Wear Mauve Shoes: Gold Dot



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Gown: Embie Nicholas Accessories: Wear Mauve & Persici Shoes: Gold Dot


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from turkey with love Photography: Heiko Laschitzki Models: Ida of M4 models, Antonia, Marietta


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film photographs by mayee azarcon gonzales models: nica villaester, nikki villaester shot using Olympus MJU


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April 2013 Issue 14 Edited by Maine Manalansan



Symbiotic Artists by Alfonso Bassig and Vince Puerto Once We Lit Up Together by Patrick Guillermo Two-Face by Mica Agregado, Tzaddi Esguerra, Angela Espinosa, Jessan Miramon, and Ches Gatpayat In Introspect: An NY Photo Diary by Cru Camara Art Fair Philippines by Ecks Abitona


A Portrait of the Fanboy as an Artist

Twenty-something painter Luis Santos, meticulous in his shutter-eye brush strokes, is also the first ever fully stached-person to grace our cover. Elise Montinola attempts entry into the mind of the reluctant artist, where art is relegated into the realm of “stuff� and an upward spike in career is shrugged off as chance fanboyishness. Photographed by Jelito de Leon.


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Luis Santos arrives at our interview, well-kempt and cool-headed, despite having stewed lengthily in the pressure-cooker EDSA traffic just a few minutes earlier. Fresh off his stint at the prestigious Art Fair Philippines 2013, where he transformed one of his photorealistic 3x3 blurs into a staggering 6x4 installation, Luis, despite his recent success, is saturated in all gradients of humility. He apologizes profusely for his assumed lateness, then, in almost the same breath, bashfully rejects the title of artist, chalking his profession all up to circumstance. We crack an ice-breaking comment about the Manila heat, which, in turn, kicks off our conversation about creation and its fickle processes, about growing up Malang (and Soler, and Mona), and about the blossoming community of Filipino ingénues, present and future. Hoping to unseat all constraints, I begin with the very word itself, art, and I ask him what it means to him. Luis squirms slightly in his chair, as he contends that art for him, like it might be for anyone else, is as broad and confusing a concept as they come, one which he chooses to compress and simplify. Rather than risk spoiling it by overthinking its every layer, he elects to enjoy it in all its schmaltzy complexity. What he is sure of is that it is the sum of its community, a community that has tickled, nurtured, and welcomed him. Luis proclaims that he is, at best, a great fan of art. “Chance lang na nagkaroon ako ng exhibits, hindi ko naman talaga pinursue.” He insists: “ayokong mapahiya, gumagawa lang talaga ako ng stuff.” (Never mind that his “stuff ” has led to copious group shows, almost four solo shows, and his first stint abroad, all in just three years’ time.) Still, despite our objections, he continues to shirk off the title, equating artistry to genius, citing his heroes Manuel Ocampo and Jayson Oliveira and their work as better examples. And so, because of the lens with which he’s viewed himself, coupled with the fact that he’s been enjoying it all so much, it seems almost criminal for him to call what he’s doing a career, something which started out as but a late hobby, and one he thought he’d never pursue at that.

Having grown up in a family of bread-and-butter artists and gallery owners, Luis says that he never considered the arts as anything special. His mom (Mona Santos), his dad (Soler Santos), and his lolo (Malang) were his yardsticks for normal, which meant that he didn’t see them as virtuosos in any light. He was, in fact, hesitant to follow in what seemed to be the family legacy, lest he be perpetually compared to his progenitors (like Sean Lennon with John Lennon, which he offers as a poignant example). He recounts the haunting words his lolo once told his kids, that they never copy him because they’d always be compared to him, that should, instead, seek to find their own style. “Pero ngayon, di ko na naiisip yung pressure,” meekly stating that he’d never reach their level anyway. And, perhaps, he’s right, but not in the way he intended. His is a different creative route, one all the more impressive considering he never formally studied painting or even practiced it until 2010, well after graduating from college. Deviating from his family’s penchant for circle-faced women and semiabstract ecology, his style does not necessarily oppose theirs, but it is different. Luis, in fact, has a hard time setting the essence of his style to words. Finally, he settles on “photo-based,” complementing the term with that manic impulse to capture the essence of a photograph, paying particular attention to what’s lost or added in the process of translating a photograph to a painting. It is his third solo show, Then It Happened, a composite of monochromatic hyperrealist portraits depicting their subjects in a state of fixed flux, that best recounts the in-betweenness of moment and memory, which only the fortuitously clicked camera captures and, later, the exacting brushstroke renders. Noticeably, his paintings in the series are all titled generically – brandishing the moniker untitled, with only differing numbers as their dominant signifier; despite painting those he knows, this all-around anonymity pronounces his visualization of the muddled quality of memory.


Cat Skull (2012) Oil on canvas 5 x 6½ feet


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“Luis, despite his recent success, is saturated in all gradients of humility.”

Luis maintains that the clarity of his vision is directly influenced by film and music. Favorite movies that have instantly inspired his thought process include those of David Lynch, Stanley Kubrick, and Martin Scorsese; Mulholland Drive, 2001: A Space Odyssey, and Taxi Driver are classics that resonate best with him. He takes to Lynch’s aesthetic especially, appropriating his neo noir, subtly surreal style, where you don’t know what’s real or not, what’s memory and what’s dream, particularly in his last show at Blanc Peninsula. At this moment, I feel it pertinent to inquire if, amidst all these Western inspirations, he injects anything that might be considered Filipino into his work. He aptly retaliates by saying that though there is nothing consciously or stereotypically/ traditionally “Filipino” about his paintings, they are Filipino because he himself is Filipino. The Filipino is very much now part of the global, he asserts, many Filipino artists prosper abroad and do so in different styles. There really is no one way to be Filipino. Intrigued by the brass tacks of producing content, I ask him to walk us through his own process of thinking and creating. His principal step seems simple enough: to have a notepad glued to the hip, to list down any and all ideas in order to coax them out of your head, to bring them out from the land of ideal to that of the real. Luis says that even when he was a graphic designer, he would always be hesitant to render something on his computer, worried about the prospect of a dismal result. From this experience, he’s learned that “importante pala na ilalatag mo yung ideas mo kahit panget,” to get it all out of the way in order to give fuel to your process. Next to this, most important is the part that the community plays, and your involvement in it. Researching, gathering inspiration, polishing your style are movements that depend on your level of immersion in the art community, says Luis. Always go to art exhibits. Always find ways to talk to artists. Always leaf through art magazines. Always be in a


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constant state of thought, mixing and matching these pieces of influence as you go along. He also admits to encountering major speed bumps in his process, most specifically in embarking on the task of putting his ideas to canvas, that which is the most difficult of all. But once he’s found his rhythm, a discovery which often entails looking to deadlines for pressure, he can go on and on without thinking, as if on auto-pilot. In this trance-like zone, he is able to multitask and think up his next project. And though he is without any formal dabbling in the medium, he is still able to go to his parents for questions and to rely on their painterly guidance. All these things considered, he says, his method has been more of a trial and error, of figuring things out from wherever he’s left off. Luis recounts his first ever attempt at painting, that of a human skull, which he posted on Facebook and was promptly snapped up by a respected collector, an act which opened doors for him and gave him a lot of encouragement to soldier on as a painter, from large group shows to intimate solo shows. Looking back on how he’s changed throughout these three years, Luis notes his faster work course – his first painting took a month to complete, while his paintings at Blanc took between nine days and two weeks. He also recalls the tricks he’s learned, especially in terms of building momentum and fine-tuning his attention to detail. With his show at Blanc, for which he created ten portraits in the span of six months, Luis was able to map out his technical growth. Comparing the first painting he did with the last, he notes that even within a relatively short span of time, there is a noticeable leap in terms of his technique. It’s easy to see yourself grow if you keep creating, he deduces. It gets difficult when you stop, you forget the things you learn, and you lose momentum.


Skull (2010) Oil on canvas 3 x 3 feet


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Destroy This Mad Brute (2011) Oil on wood with digital print on acetate 7.5 x 10 inches


Untitled (Figure) 001 (2013) Oil on canvas 3 x 3 feet


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Untitled (Figure) 012 (2013) Oil on canvas 3 x 3 feet




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“He eagerly answers by saying that it’s alright to copy. Copying demands a child-like zest to imitate everything you see, and it is here where you’ll see your style emerge.”

Although we’ve seen peeks of his salient advice throughout the interview, I am tempted to ask Luis if he had any more choice words to say, directed specifically at aspiring young Filipino artists who struggle with finding their unique voice. Given today’s global culture, where nothing is original, where every remix has been remixed, how does one deal with the pressure to be original? He eagerly answers by saying that it’s alright to copy. Copying demands a child-like zest to imitate everything you see, and it is here where you’ll see your style emerge. After a while and after all, you end up copying the things you like, not the things you don’t like, and this translates into you cultivating your own mixed-and-matched style. Luis’s recommendation is to turn deaf to the societal pressure to be your own special snowflake: “yung importante ay gawa ka lang nang gawa.” With regards to the present status of the Filipino art scene, Luis tells me it’s vibrant and teeming with life. A lot of Filipino artists

are getting duly recognized internationally– the Bastards, Manuel Ocampo’s group, have an exhibit in France, he supplements excitedly; many of them top auctions and set-up shop in galleries here and abroad. And even with numerous cohorts in the local community, he sustains his diffident disposition, insisting that he isn’t legitimately part of a group of his own, even with the artists he’s been grouped with. His latest group show in Singapore, Perdido Eden, marks his international debut with his good friends MM Yu and Nona Garcia, as part of the prototypical samplings of young contemporary Filipino art. But still he insists: “Superstars sila, nakachamba lang ako.” But no matter how many times he contends he is nothing like the people he so admires, and this, perhaps, is all part of his mystique and charm, just a quick glimpse at his work and you’ll know he’s wrong. The guy has much more than luck on his side.



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Frida Kahlo and Diego Rivera Probably one of the most powerful coalitions between artists, Frida Kahlo (1907 - 1954) and Diego Rivera (1886 1957) raised the Mexican flag with their highly-expressive artistry. Frida first boldly sought the acclaimed muralist to ask opinion on her art, and the two soon developed a love affair that led to a marriage looked down upon by many. Kahlo’s mother referred to the couple as “the elephant and the dove,” reinforcing how their relationship was a great divergence—physically, and not to mention, artistically; Rivera’s monumental murals sought social understanding whereas Kahlo’s self-portraits dealt with the intricacy of her personal reverie. The love between the two was as passionate as it was tumultuous. Despite numerous infidelities from both Kahlo and Rivera, the marriage, in the end, was but fuel to the flame. By transcending the points wherein their union contrasted, their crafts were gravely intensified, making them the Mexican icons that they are today.



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Maria Abramovic and Ulay Marina Abramovic and Frank Uwe Laysiepen (a.k.a. Ulay), who worked with each other from 1976 to 1989, are performance artists that in line with having a passionate love affair, brought out the best in each other’s capabilities. Both originally had a penchant for exploring the limits of the being, resulting to producing works that were daring at its finest. The performance which can probably serve as their harmony’s epitome would be Relation in Time (1977) wherein the two sat in silence, backs turned from one another, their long hair tied together. This went on for 17 hours, displaying Marina and Ulay’s undisputed love—for both the art and each other.



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Ray Barrie and Mary Kelly “A couple making a bomb shelter” is what Mary Kelly calls the process of creating Habitus (2010) in collaboration with husband Ray Barrie. Looking at their individual works, we can see that Kelly’s conceptual art is brought to life by Barrie’s sculptural background, creating a 3D piece that transports us back to the World War II era—a historical event which Kelly calls as “the political primal scene” that shaped the world’s identity. But that doesn’t mean you need a conflict like a war to find your character. The Barrie-Kelly tandem found theirs by creating art as one united force, introducing their craft as a blend of their respective specializations.


Jackson Pollock and Lee Krasner American abstract painters Lee Krasner (1908 – 1984) and Jackson Pollock (1912 – 1956), having mutual work influences, may seem like a match made in heaven. But apparently, the perfect fit can totally backfire. Fame took its toll on the already-acclaimed Pollock as he became an alcoholic, while the lesser-known Krasner’s artistry faltered as her efforts to save his husband turned out to be futile. Krasner was rather the compromising type, humbling herself to creating her “ Little Image” paintings as the troubled Pollock used up most of their home’s workspace for his massive drip-laden works. It’s a little disheartening that it was only in 1976 when Krasner passed away that she gained acclaim for her art—not anymore as Pollock’s shadow of a wife, but as Lee Krasner herself. Their life together was a decade-long battle with the imbalance, but both were names essential to the redefinition of abstract expressionism.


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Pablo Picasso and Françoise Gilot It was in 1943 when painter Françoise Gilot first met the renowned genius Pablo Picasso (1881 - 1973) and invited him to her exhibition. Picasso was 40 years her senior, and despite already being in a relationship with Yugoslav artist Dora Maar, he showed interest in Gilot who became his muse three years after. Picasso, being the prominent man that he is, influenced Gilot more than she influenced him. Although Gilot found a way to make it her own, Picasso’s trademark cubistic style can be undoubtedly seen through her paintings. Not only that, it also came out in Gilot’s work how being with someone with such power were to be a bit suffocating. In 1953, they decided that the relationship has run its course—a union that bore two children, and works that immortalized their names in the world of art.


Photography by Patrick Guillermo Model: Kit Rosales


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Stache doesn’t claim ownership of the photos used for reference in this set. Everything is d

done for creativity’s sake. If you want to have your photos removed, please send us an email.



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“Last December, I moved to Manhattan to study photography. The city was--and still is-- incredibly alien to me, and every little activity from taking the subway or strolling through central park was exciting and new. These photographs are the things I’ve seen throughout my daily routine, and my attempt at familiarizing myself with a city so far away from home.” 116

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APRIL 2013



APRIL 2013



Art fair philippines Ecks Abitona spends a night full of art and inspiration in this year’s art fair.


APRIL 2013

RSVP Art fair philippines

With numerous classifications by magazines and museums, contemporary art has still been vaguely defined. The one similarity most definitions share is that contemporary art is being made in our time, which coexists with us. That is, with cell phones, blogging, biotechnology, Barack Obama, the death of Michael Jackson, terrorism, iTunes, Amazon, Twitter, and veterans fighting to live another day. A good art, despite its kind, has clear intention, honest quality and unwavering dedication. Good art is timeless. It will assume a new relevance to each generation, and to yourself as you grow. Like all works of art, it will connect the past and feed the future. It has a modest and meticulous beauty that requires your gaze and thoughts whenever you view it. Art Fair Philippines not only gives you a chance to see a piece of good art but to be able to witness a wide range collection of it. The growing curiosity and interest in modern and contemporary art in Manila became the driving force for art enthusiasts to create events as a celebration of the promising industry. To commemorate the National Arts Month, Trickie C. Lopa, Lisa O. Periquet and Dindin B. Araneta conceptualized Art Fair Philippines to give appropriate respect to contemporary Filipino artists who have flourished globally. Housed in the strangest location, the sixth floor parking lot of the Link was converted into a makeshift gallery of galleries. “Art in a carpark” was styled by furniture designer extraordinaire Kenneth

Cobonpue and Leandro V. Locsin Partners. Makati took center stage as it hosted 24 selected galleries and art groups (Altro Mondo, Art Cube, Art Informal, Avellana Art Gallery, B.A.R Bureau of Artistic Rehab, Blanc, Boston Gallery, CANVAS, The Drawing Room, Finale Art Gallery, Galleria Duemila, Light and Space Contemporary, Liongoren Gallery, Manila Contemporary, MO Space, NOW Gallery, Pablo Galleries, Paseo Gallery, Philippine Art Awards, Salcedo Auctions, Secrety Fresh, Silverlens, Tin-Aw and West Gallery) from the 7th – 10th of February.



Deep within the art fair is the never empty gallery of Tin-Aw. Mark Orozco Justiniani’s Mimefield captivated curious minds with his experimentation of mirrors. Four installations of Collider, Debris, Pillar, and Spear of Xeno, make up Justiniani’s famous mirror workings. The 15-inch columns of Pilar appeared as though one is on the edge of a pit and if pushed will endlessly fall in the vast hole below. The raw optical illusions presented were hypnotic, creepy and unquestionably brilliant. If looked closely, Touch Me Here by Alab Pagarigan represents a realistic love. Pagarigan created a delicate piece made of entwined copper wires forming a tangled male and female sharing a single red heart portraying the fragileness and completeness of the piece. Two contrasting displays of On Holy Ground at the Manila Contemporary booth and Talk Dirty To Me at the B.A.R booth were both fascinating and thought provoking in their own ways. Nona Garcia, Geraldine Javier, Christina Quisumbing Ramilo, Iggy Rodriguez and MM Yu presented visuals on Catholicism and other spiritualties through painting, sketches and installations on their holy ground. Manuel Ocampo, whose art pieces received disdainful social critiques on his exhibits all around Europe, America and Asia, shows the madness that occurs in art fairs. A statue of artist Romero Lee, adult magazines, torn pieces of paper and neon lights composed this despicably unique installation with the help of Manila’s Vice artists. Conversely, the most awaited and debated piece of the event was of the famed kinectic sculptor Gabriel Barredo’s Asphalt. Being dormant for quite a while and having spent almost every waking hour


APRIL 2013

10 months prior to showing it to public came as a surprise to many. Asphalt, being associated with everything murky, depicted each and everyone’s “darkness”. The 40-foot installation piece was a broad mixed media collection made of metal and projections: a captivating mechanical work of art. One wasn’t limited to the artworks accessible at The Link since priceless pieces of urban art installations were sorted around Makati (Balete by Leeroy New at Elevated Walkway, Entry & Faith by Impy Pilapil at Washington Sycip Park, Blue Men in Black Suits by Charlie Co at Tower One & Exchange Plaza Building, and Pedestrian Art Gallery at Legazpi & Sedeno Underpass among others). Art Fair Philippines broke the delusion of local art are exclusive art and allowed local spectators to see up close the selected pieces by contemporary Filipino artists, proving even with inadequate resources, Filipinos are capable of world class results.

RSVP Art fair philippines


Stache April 2013 // Issue 14  

We're making a big comeback with another April Art issue. Featuring an interview with The Voice alumna Dia Frampton, a New York and Stars Li...

Stache April 2013 // Issue 14  

We're making a big comeback with another April Art issue. Featuring an interview with The Voice alumna Dia Frampton, a New York and Stars Li...