snake by gerald leow

continuing with his themes revolving around western colonialism and its symbols, the work is a recreation of the greek statue, laocoön and his sons, replacing its snake with a cloth printed with quotes from participating writers. front lawn, SAM, through 13 feb 2013.

“Ultimately, luxury is tied up with notions of class – a subject fashion never seems to enjoy addressing openly. Which is the real reason, I think, that those in the fashion industry have such a tough time talking about luxury, let alone defining it.

Which is a shame, because if designers had a greater understanding of all the snobbery and guilt their labels inspire, and the diversity of class and income their labels are meaningful to, they might have something more interesting to offer us than mere luxury.”

- from Some Notes on Luxury by Someone Who Finds the Term Distasteful (Murray Healy), HERO NO. 8 WINTER/SPRING 12/13

article on ehren in jalouse magazine, shot by romain gavras

more of ehren

ehren's boots

ehren's back

ehren's ipad

ehren (mannequin)

lia (mannequin)

more of liza (ave)

My Recent History (John Frusciante)

“I started being serious about following my dream to make electronic music, and to be my own engineer, five years ago. For the 10 years prior to that, I had been playing guitar along with a wide range of different types of programmed synthesizer and sample based music, emulating as best as I could, what I heard. I found that the languages machines forced programmers to think in had caused them to discover a new musical vocabulary. The various forms of electronically generated music, particularly in the last 22 years, have introduced many new principles of rhythm, melody, and harmony. I would learn what someone had programmed but their thought process eluded me. Programmers, particularly ones fluent on machines from the early 80s and/or tracker programs from the 90s, clearly had a theoretical foundation in their employ but it was not the theory I knew from pop/rock, jazz or classical. The hands relationship to the instrument accounts for so much of why musicians do what they do, and I had come to feel that in pop/rock my mind was often being overpowered by my hand, which I had a strong desire to correct. I was obsessed with music where machine intelligence and human intelligence seemed to be bouncing off one another, each expanding with the incorporation of what it received from the other.

In 2007 I started to learn how to program all the instruments we associate with Acid House music and some other hardware. For about 7 months I didn’t record anything. Then I started recording, playing 10 or so synced machines through a small mixer into a CD burner. This was all experimental Acid House, my skills at making rock music playing no part in it whatsoever. I had lost interest in traditional songwriting and I was excited about finding new methods for creating music. I’d surround myself with machines, program one and then another and enjoy what was a fascinating process from beginning to end. I was so excited by the method of using numbers much in the same way I’d used my muscles all my life. Skills that had previously been applied by my subconscious were gradually becoming conscious, by virtue of having numerical theoretical means of thinking about rhythm, melody and sound.

Then I began a musical relationship with two friends, wherein I could do basically the same thing I had been doing in my living room, only with other people. This continues to be a band which is perfectly congruent with my nature.

‘come as you are’ cover by malaysian singer-songwriter, yuna

liza (ave)

choreography to nicki minaj's stupid hoe, by xuehui loy of o school, singapore

full-figured

fat girl

silent souls

water lilies

Walls and Doors (John Frusciante)

“Yesterday began the official pre-order for my new record PBX Funicular Intaglio Zone. The 9 song album will be released in North America on September 25th 2012 and throughout the rest of the world on September 24th.

In the meantime, below is a free hi-resolution download link to the song Walls & Doors. This song, recorded in September 2010, marks the point at which I began combining 60s and early 70s production styles with modern electronic production styles. This song was also the first time I successfully balanced pop music with abstract forms of music. This song showed me that the pop parts of myself and the more adventurous parts of myself could blend without one compromising the scope of the other. After this song I did not pick up the ball and run, but rather I continued to challenge myself, experiment and investigate, more from the abstract angle than the pop angle, until March 2011, at which point I'd figured out the things which made it possible for me to consistently make precisely the music I wanted to make, in which I was not restraining any part of my nature, allowing me to begin the recording of PBX. I might mention that Walls And Doors was also the first time my electronic instruments had begun to convey the visceral energy that one associates with people beating the fuck out of their instruments, in the context of a pop song.”
Preorder PBX

singapore - tom waits

aya (elite)

eng chong and akiyo of Kizuki + LIM hair salon, singapore

OOPSY-DAISY

Photos Ivanho Harlim and Shysilia Novita

Styling Marie Liang

Model Julia (Mannequin)

Jacket and Body Suit Chanel; Bracelet Alldressedup

Dress, Bag, Bangles and Shoes Fendi

Jacket, Skirt and Shoes Louis Vuitton; Bangles Alldressedup

Cape, Top and Skirt Miu Miu; Cuff Bangle and Bag Alldressedup

Jacket Chanel