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The Fountain, the Shop, the Rhythmic Train Trailer

In January, 2022, DOUBLE DOUBLE reemerges as a monthly publication, released in both paperback and ebook versions. Besides presenting creative work, both visuals and writings from Lee Ka-sing and Holly Lee, their archive and collections, every issue it would introduce artwork from an invited artist; and from time to time, collaborative work with other artists. The main theme in the January issue "The Fountain, the Shop, the Rhythmic Train" revolves around memories invoked by family albums. Sharon Lee, born in the 90s in Hong Kong, discovered family history through a photo album left by her grandmother. Her grandparents used to run a small grocery store in the 70s, but that shop had long been demolished, replacing now by a concrete wall structure. Using found objects from grocery stores, she turned them into specimens in concrete, rephotographed the pieces, thus converting them into memory fossils. In Holly Lee's novel, The Fountain, she wrote about her memories, and different stages of experiences rooted from an old photograph. Delving further into the city's history, which often mingled with personal's, she walked between the real and the imaginary, taking in the pain and the glory of a city she never left. Lee Ka-sing's I Hope You Are Well (to a contemporary art space in Beijing) is in two versions. The 2014 version was a train of photographs on wall, and the 2022 version is a book of 15 photographs - a Biblio Edition in edition of five. The last part of the publication consists of an entire suite of covers - 158 DOUBLE DOUBLE covers from 2019 to 2021. They serve as thumbnails to previous issues, and key content description for each issue.

In January, 2022, DOUBLE DOUBLE reemerges as a monthly publication, released in both paperback and ebook versions. Besides presenting creative work, both visuals and writings from Lee Ka-sing and Holly Lee, their archive and collections, every issue it would introduce artwork from an invited artist; and from time to time, collaborative work with other artists.

The main theme in the January issue "The Fountain, the Shop, the Rhythmic Train" revolves around memories invoked by family albums. Sharon Lee, born in the 90s in Hong Kong, discovered family history through a photo album left by her grandmother. Her grandparents used to run a small grocery store in the 70s, but that shop had long been demolished, replacing now by a concrete wall structure. Using found objects from grocery stores, she turned them into specimens in concrete, rephotographed the pieces, thus converting them into memory fossils. In Holly Lee's novel, The Fountain, she wrote about her memories, and different stages of experiences rooted from an old photograph. Delving further into the city's history, which often mingled with personal's, she walked between the real and the imaginary, taking in the pain and the glory of a city she never left.

Lee Ka-sing's I Hope You Are Well (to a contemporary art space in Beijing) is in two versions. The 2014 version was a train of photographs on wall, and the 2022 version is a book of 15 photographs - a Biblio Edition in edition of five.

The last part of the publication consists of an entire suite of covers - 158 DOUBLE DOUBLE covers from 2019 to 2021. They serve as thumbnails to previous issues, and key content description for each issue.

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January 2022


DOUBLE DOUBLE January 2022 edition

The Fountain, the Shop, the Rhythmic Train

A Holly Lee and Lee Ka-sing Publication

First published in Canada by OCEAN POUNDS

January 2022

Library and Archives Canada Cataloguing in Publication

Photography, Visual Art, Poetry, Literature, Culture

Authors: Lee Ka-sing, Holly Lee, Mak Fung, Sharon Lee

ISBN: 978-1-989845-23-3

Copyright © Ocean Pounds 2022

Individual Copyrights belongs to the Artists and Writers.

All Rights Reserved.

For information about permission to reproduce material from

this book, please write to mail@oceanpounds.com

DOUBLE DOUBLE was published as a weekly webzine from

January 2019 to December 2021. A total of 158 issues were

published. Full archives available online:

https://oceanpounds.com/blogs/doubledouble

Some of the issues were re-packaged and published as

print-on-demand paperback editions.

Since January 2022, DOUBLE DOUBLE has become a monthly

publication, released in both paperback (POD) and e-book

versions, available for orders online at BLURB (blurb.com),

or at OCEAN POUNDS in Toronto.

The Fountain,

the Shop, the

Rhythmic Train

Design and editorial by DOUBLE DOUBLE studio

www.doubledouble.org

Cover: Sharon Lee

End Pages: Lee Ka-sing

Some artwork featured in this publication might be available

through OCEAN POUNDS

(contact by email at mail@oceanpounds.com)

OCEAN POUNDS

50 Gladstone Avenue, Toronto,

Ontario, Canada M6J 3K6

www.oceanpounds.com


Lee Ka-sing

a work in two versions

I Hope You Are Well

(to a contemporary art

space in Beijing)


version 1

I Hope You Are Well (to a contemporary

art space in Beijing), 2014

a poem in 15 photographs

(2014)

52.5 x 3.5 x 1.5 inch

archival pigment print, spruce, acrylic medium

unique


Holly Lee

The Fountain

a novel


Early morning calls

Here they go again! Abek Keba.

A blessing, or a curse. The silence of the

waning night breaks, before the first ray of

sunlight hitting city buildings, before her spirit

climbs back to the body, suspending her in a

state of half-asleep and half-awake, and like an

overtly early alarm clock, without warning, a

sharp, harmonious duet punctures the air. Less

than a quarter of a mile away, on the northern

slope opposite where she lives, inside a cage in

the Zoological and Botanical Gardens, a pair of

siamangs, swinging from branch to branch, are

routinely performing their morning ritual cries

with a mix of deep booms and high-pitched

screams.

Ack! Just when I’m about to drift off…

Yes, her sleeps have been fragmentary since the

operation, her further struggle with radiotherapy,

and chemotherapy taking a visible toll on her.

The first night she started her chemo she was in

so much pain that, in between bursts of dreams,

she yelled for help from her grandmother,

forgetting that she had been dead for nearly a

year. The nights following are not any better;

she is often in a state of consciousness with

eyes closed. Then around dawn, she is almost

certain to hear calls from the gibbons, taking

her away, or dragging her deeper into the same

fuzzy dream; a wood so dark, primeval and

impenetrable.

She decides to visit the siamangs Abek and

Keba today. Secretly, and avoiding the keeper’s

watchful eyes, she will feed them popcorn for

a treat. Abek is male, seven years old, and

measures about 3 feet tall, weighing 25 pounds.

Keba, his wife, is three months younger, built

slightly shorter but weighs more since she is

pregnant. The couple is from different parts of

Sumatra and has been living in this enclosure for

almost a year. It is just a short walk uphill from

her apartment to the zoo through a lane called

Glenealy, a gated, minor entry point, one of the

eleven entrances to the central Public Garden.

Usually, this entrance is quiet and unstaffed.

She has to pass through the full-height, twoway

steel turnstile to take the path, a shady and

winding trail leading to the menagerie. Some

time ago, when she visited the couple, they were

sitting upright in the fork of a tree, huddling

together, comfortably taking their afternoon nap.

Another time when she passed by, Abek and

Keba were swinging and brachiating through the

branches with their long gangling arms, acting

in a way as if they were the top trapeze artists

of the animal world; and indeed their acrobatic

performance won loud applause from several

spectators, including hers. What will they be

doing today? She wonders. What will you name

your child, you king and queen of swing. Your

child, would you like it to be the prince, or

princess of the swing? In a habitual manner, she

combs through her thin hair with her fingers,

feeling instantly more hair falling out, her scalp

warm and tender.

The day’s forecast is hot and sunny, a

considerably fine day; it’s better for her to wear

a cap and bring along the blue umbrella with

light-green stripes. Her spirit needs uplifting,

her body needs fortifying, and this umbrella

provides both. She delights in spending time

with the siamangs and walks directly towards the

compound where Abek and Keba are staying. To

her surprise, she finds not two, but three primate

friends. Keba has given birth to a baby. On a

signpost outside the enclosure stated: Ekke,

female siamang, 6.5 ounces, born July 1, 1992.

Because it is a weekday, not too many people

are gathering there to watch the newborn, and

she’s able to get closer to her siamang friends. A

picture of family bliss, all tenderness and loving

care. The tiny baby is sprawling out on her

mother’s tummy, and Abek is gently grooming

his wife’s shaggy black fur with his long fingers.

She leans over and presses her face against the

cold steel fence, looks straight into the eyes

of the parents. They look back languidly, as if

floating on a cloud, as if lodging in their small

haven, so contented that they do not want any

disturbance.

She carries that picture with her as she strolls

further along the old trees trail, crossing the

pedestrian subway to the north-eastern side of

the park, passes by the Pavilion, and the bronze

statue of King George VI, a somewhat beautiful

area surrounded by aviaries, the air filled with

fragrant jasmines and all kinds of bird songs.

There’s a bench to sit down on, the weather so

bright, the constant breeze cools down streams

of heat waves as she sits under her umbrella,

well-sheltered from the mid-day sun. Minutes

later, resuming her strength, she descends

the stone steps, reaching an open square; the

fountain terrace. There, the sky, skyline of tall

buildings and some breadth of the harbour view

unfurled before her. Putting down her umbrella,

she inhales deeply, her arms stretching out, as

if trying to gather the spectacle all to herself. In

the middle of the courtyard sits the centerpiece

of the garden - the fountain, which, in its several

rebirths, has always remained in the same spot.

Now rebuilt for the fourth time, an irregular

polygon replaces the former round-shaped

fountain, having four huge, dandelion-like

spheres with rotating fountain heads, spinning

around gleefully as water jets out of the nozzles.

The view is captivating and refreshing. To


COLLECTION

Mak Fung

The Fountain, Botanical

Garden, Hong Kong

circa 1960s

a photograph


The Botanical Garden, Hong Kong,

circa 1960s, by Mak Fung

8x10 inch, gelatin silver photograph

printed in the nineties

Edition 4/10, signed and titled on verso


Sharon Lee

The Crescent Void


The Crescent Void

It begins with a worn-out photo.

Hiding in an album my grandmother left us after

she passed away is a photo that tells an untold

chapter of my family history: My grandparents

used to run a small grocery store in Chai Wan in

the 70s. Today, Man Lee Store, as it was called,

has already morphed into a run-of-the-mill

concrete wall structure facing an underground

train station.

Our city never ceases to change. As I turn the

found objects from grocery stores into specimens

in concrete, the disappearing urban tales

buried underneath the ever-taller high-rises

are given new forms. The absence in space of

the concrete boards makes a poignant remark,

moulds after moulds, as a that-has-been—an

uncanny presence against change. These halfmoulds-half-specimens

are then recast as

negative images. The photographic impressions,

with their light and shadow reversed, reflect the

achingly quotidian life lost in the fabric of space

and time. Their silence never ceases to speak

to us, as a void lurking in our city that seems so

close yet distant to us.

The stores and their stories may be remembered

and disremembered. Never are they too far from

our hearts, however. They are just around the

corner of the street that we pass by every day. A

once most familiar sight.

(Sharon Lee Cheuk Wun)


Lemon Tea 檸 檬 茶


The Crescent Void series was also published as

an artist book by Sharon Lee in 2020.

The Crescent Void

A box of 10 prints

Box size: 12” x 15” (30.48 x 38.1 cm)

Print size: 11"x14" (27.9 x 35.5 cm)

Printed on 110 g/m archival washi papers (Awagami

Inkjet Papers) with pigment inks

10 copies, printed in 2020

Sharon Lee 李 卓 媛 (b.1992, Hong Kong)

received an MFA from The Chinese University of

Hong Kong. Lee participated in several overseas art

residency and won the photography award WMA

Masters in 2019. She debuted her solo exhibitions

The Presence of Absence” with the Lumenvisum

New Light Award in 2016 and “If Tomorrow Never

Comes” in 2020. She has collaborated with

several local and international art institutions and

festivals-Tai Kwun Contemporary, Art Promotion

Office, Hong Kong International Photo Festival,

Peer to Peer:UK/HK, The Listening Biennial. ‘R’ as

her artistic strategy conceptually and technically: in

the name of re-searching (family) history and recreating

memory; of examining “disappearance” as

an artistic means to challenge “disappearance” as a

cultural concept; of re-sisting empty photography in

the post-photography era. Lee has been engaged in

experimentations with analogue-digital hybrids as

well as transmutations involving various materials.

www.sharonleecw.com


158 covers

Double Double

(from 2019 to 2021)

With contents focusing on Holly and Ka-sing’s recent

work and archives (both photography and writing),

DOUBLE DOUBLE appeared as a weekly webzine

from January 2019 to December 2021. A total of 158

issues were published.

An archive of all the issues -

https://oceanpounds.com/blogs/doubledouble

The publication has become a monthly publication in

January 2022, published in Paperbacks (POD).

An electronic book format (epub) is also available for

iPad, Kindle and Desktop computer.


Istanbul. Three Poems (Holly Lee) / Istanbul Journal, photographs

(Lee Ka-sing)

Objects of Mythical Power. Five poems (Holly Lee) / TIME

MACHINE, photographs (Lee Ka-sing) / PAPER TALK - Posing

(Holly Lee)


50 Gladstone, photographs (Lee Ka-sing) / PictureWords - 月 如

鉤 Moon As (Fish) Hook, photographs (Holly Lee) PAPER TALK

- 看 樹 看 花 (Holly Lee)

A Potluck Song. Poem (Holly Lee) / MOBILE POETRY LAB - The

Psychological Journey While Taking a Colour Photograph of

a Dinosaur (Lee Ka-sing) / ARTIFACT - “camera works, holly

& wingo” / PAPER TALK - Bowlshit (Holly Lee) / VINTAGE -

photogram (Holly Lee)

50 Gladstone, photographs (Lee Ka-sing) / The Thinker. Poem

(Holly Lee) / VINTAGE - Friends, Artists and People I Know (Holly

Lee) / Sushi Grass in Paradise, a novel (Holly Lee) / PAPER

TALK - Ara Güler & Yau Leung (Holly Lee) / BOOKSCAPE - The

Language of Fruits and Vegetable (Lee Ka-sing)

50 Gladstone, photographs (Lee Ka-sing) / The Thinker. Poem

(Holly Lee) / VINTAGE - Friends, Artists and People I Know (Holly

Lee) / Sushi Grass in Paradise, a novel (Holly Lee) / PAPER

TALK - Ara Güler & Yau Leung (Holly Lee) / BOOKSCAPE - The

Language of Fruits and Vegetable 蔬 果 說 話 (Lee Ka-sing)

Sushi Grass in Paradise, a novel (Holly Lee) / VINTAGE - Twenty

vintage Test-strips / NEW STORIES, from Kai Chan and Lee

Ka-sing collaboration exhibition (Lee Ka-sing) / 50 Gladstone,

photographs (Lee Ka-sing) / PAPER TALK - Kenojuak Ashevak

(Holly Lee) / Kenojuak Ashevak. Poem (Holly Lee)


Share with us and collect a piece of our histroy

The 158 DOUBLE DOUBLE covers, each is available as

Archival Print, ready for you to put into a frame.

Available in two formats at lab cost:

8x10 inch sheet size, image 7x7 (US$50)

17x22 inch sheet size, image size 16x16 (US$100)

Appropriate tax and shipping may apply.

A print with autographs is optional.

To order: write to mail@oceanpounds.com

and indicate the issue number


View a full version

(180 pages) of this

publication ($1) at

Reading Room -

https://oceanpounds.com/blogs/rr/dca

a paperback edition of

this publication is also

available ($75)

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