17/04/2023
“The title of JJ Aquino’s work—(m)Oda Kay/Ni Marites—has multiple meanings: it is both a lyric poem (oda) for and by—and in the style (moda) of—Marites, a character from Filipino contemporary folklore referring to a woman (usually wearing a house dress or daster) who is always updated on the latest gossip through informal channels of information. The multiplicity of meanings Aquino plays with is further embodied in the reimagined half-terno/half-daster silhouette seen in the work. Who, ultimately, is more powerful: The Terno-wearing individuals who have the machinery and billions to fund widespread propaganda and disinformation for their own private gain? Or your everyday Marites who operates through whisper networks that, although informal, are quite extensive and carry potential to create a groundswell of public pressure to call out and hold accountable those who abuse positions of authority?”
-Franchesca Casauay, 2023
“Does fashion have as much power to perpetuate past realities as it does to evolve with its time? Aquino explores this through an installation that processes an unsettling reality he encountered before taking up the residency at UPOU: the image of the Philippine Terno being co-opted as both a symbol of national identity, and a vehicle for propaganda. In the wake of the 2022 elections and his mother’s experience of martial law, this matter resurfaced his personal convictions about art and activism. The installation presents a dress combining diverging symbols, designed to act as a container for multimedia. Held together only by their common A-line silhouette and neckline, the terno and daster ensemble represents both the everyday and the ‘imeldific’, and questions fashion’s role in democracy today. This silhouette is purposefully plain to mirror its environment: music and imagery, engineered in collaboration with brother Jose Ezekiel Aquino, is sampled from 1970s propaganda and embodies the current crisis of disinformation.”
- Adrienne Santos, 2023mari