MONDAY ARTPOST 0620-2022

MONDAY
ARTPOST
0620-2022
ISSN1918-6991
MONDAYARTPOST.COM
Columns by Artists and Writers
Bob Black / Cem Turgay / Fiona
Smyth / Gary Michael Dault / Holly
Lee / Kai Chan / Kamelia Pezeshki /
Shelley Savor / Tamara Chatterjee /
Wilson Tsang / Yau Leung /
+ Twelve Postcards (Lee Ka-sing)
MONDAY ARTPOST published on Mondays. Columns by Artists and Writers. All Right Reserved. Published since 2002.
An Ocean and Pounds publication. ISSN 1918-6991. email to: mail@oceanpounds.com

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“And all the lives we
ever lived and all the
lives to be are full of
trees and changing
leaves…”
Virginia Woolf,
To the Lighthouse

Yesterday Hong Kong
Yau Leung
King Kong (Shaw Movie Town, 1974)
8x10 inch, gelatin silver photograph printed in the nineties
OP Edition, edition 12/20, signed on verso
From the collection of Lee Ka-sing and Holly Lee

Poem a Week
Gary Michael Dault
Four Miniatures
1)
stones in a wall
ticking
like close-packed
hand grenades
2)
old flowers sent away
shamed by
upstarts of blossom
3)
aging cities
bite their deserters
before turning back to sleep
4)
a squall
brown and quick as a ferret
scissors through
morning’s blanket

Caffeine Reveries
Shelley Savor
Lingering Heavy Clouds

DOUBLE DOUBLE current issue, 200 pages.
Read-on-line book and Paperback editions available.

ART LOGBOOK
Holly Lee
Dakar Biennale
Various venues, Dakar, Senegal
19 May 2022 - 21 Jun 2022
The first edition of Dakar Biennale was dated back to 1990. Now in its 14th edition, the theme
Ĩ Ndaffa# takes on its full meaning under an aspect of progress, in the image of the African
continent, which has become the place of potential prospects. The official selection features
fifty-nine artists, including four collectives, from twenty-eight countries around the world – 16
African nations and 12 others in the diaspora.
1. In Dakar, African Art Speaks in All Its Voices
https://www.nytimes.com/2022/06/15/arts/design/dakar-biennale.html
2. Senegal’s Dakar Biennale: From red swimmers to floating teapots
https://www.bbc.com/news/world-africa-61549269
4. Artists Flock to Dakar for Biennale
https://www.voanews.com/a/artists-flock-to-dakar-for-biennale/6585799.html
3. Must-see art from Senegal’s Biennale: Sculptures of sugar, paintings of old postcards
https://www.npr.org/sections/goatsandsoda/2022/06/10/1102945015/must-see-art-from-senegalsbiennale-sculptures-of-sugar-paintings-of-old-postcar
5. Dark times inspire Dakar artist at long-awaited African art biennale
https://www.reuters.com/world/africa/dark-times-inspire-dakar-artist-long-awaited-african-artbiennale-2022-05-20/
6. 14th Dakar Biennale 2022: Palais des Justice (Installation view)
https://contemporaryand.com/magazines/14th-dakar-biennale-2022-palais-des-justice/

CHEEZ
Fiona Smyth

Greenwood
Kai Chan
Drawing, ink, graphite, pastel on paper

TANGENTS
Wilson Tsang
Missing Parts

ProTesT
Cem Turgay

Travelling Palm
Snapshots
Tamara Chatterjee
India (May, 2017) – After numerous days of
wedding celebrations, we sauntered around
some of the more auspicious and obscure
areas of the city. In Kumartoli; we admired
crafty artisans, miraculously building various
sized gods and their mounts from straw
and mud. It wasn’t the bustling, swarming
production of godly multiplication that I was
expecting, although impressive nonetheless.

From the Notebooks
(2010-2022)
Gary Michael Dault
Number 142: Plant (February 27, 2012) and Cactus (February 26, 2012).
Both drawings are from a very small black notebook (6” x 4”) I was working on in
the winter of 2012.

The Photograph
coordinated by
Kamelia Pezeshki
Untitled by Kamelia Pezeshki, 2022

Leaving Taichung
Station
Bob Black
花 火 (hana-bi)
“Being with you and not being with you is the only way I have to measure time.”-Borges
I
On a remote mountaintop somewhere in Europe, accessed by an ancient funicula*
removed, a day’s dark filled by the birds’ morning bark
an accessed mountaintop, the ach moment, a longlauded ago
he pulls apart the intricacies of his body miniscue
and expels a beat,
a rusted funicula tramming the length of his chest

and then truncated, the bite:
“When shall we realize what awaits us?”
What else, if not the cleaver clunk, the enclosed tapping heart
when
the river sorrows the hips of the city,
and socks fall, abloom.
and the dogs have nothing over the parents in the way their backs scent the ground in circles,
cadenced and calibrated.
This cutting away of skin and history, a tin-can nip,
ecumenical tuna in water tongued oil,
labels differentiated in jars of meaning, causality or quiet, jam-stained
the teeth and flora the call,
while the spit speaks of weather
poked about with meaning, vocabulary and the syntax of garter belt rhyme--
all the world atwitter and counting eyes and cords and font-size hearts.
and there we go
we all go, flagging and flaking and the sediment carried seaward
our syllables upturning and unvarnished deck of hope.
Have you spent enough time not looking?
etc, etc, and ecetera.
II
On a remote mountaintop somewhere in the distant world, accessed by taut, funicular dreams
she detonates into the world hanging bright, 花 火 ,
all phosphorous and luminescence and scent,
beneath the stone and tide and mating where comes
the rise-up bright from gunpowder and the sky’s sizzling,
more than sound or sight, instead of taste
that remarks this clockwork glow--
can you set your own tiktoking to that reverent fuse-striking and hiss.
IV
and words scatter across the escaping sky as sleep
that flees the king anight
On a remote mountaintop somewhere in Europe, accessed by an ancient funicula
the river sorrows the hips of the city
we go fleeing, abloom
To trapeze into the world, the lesson the lesson, the un-lessened.
for: Jess Chandler
III
°-this line is from Jess Chandler’s description of Lucie Elven’s novel The Weak Spot
The river sorrows the hips of the city
while the adults unlock themselves from fear and recklessness amid cut grass, discarded cans and
accordion of tar-words and troubles,
the park freeing the bat song, the slapping lag of tongue and waiting,

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Twelve postcards
Lee Ka-sing
Published in DOUBLE DOUBLE, the weekly web zine,
issue 25 December, 2020.

(The first batch of Galerie fiber-based paper)
Galerie fiber-based paper was first launched in Hong Kong in 1988, we received a box of 8x10 sampler. I
trimmed the whole box of paper to postcard size (4x6), had a plan to turn them all into original photographic
postcards. I could remember, in the early 70s, paper companies such as Agfa and Kodak still offering
photographic papers in postcard size, these papers even had all the postcard details printed on verso as
watermarks, lines for address and a divider in the middle to separate the writing area.
In this series I have a selection of seven images, most were snap-shots from journeys, my assistant helped me
for all the lab work. This image was taken in Rome, in a trip to Italy in 1988.

(Tail of a horse)
Another image from the original photographic postcard suite, also from Rome. In the eighties, I was writing
a column for Sing Tao Weekly Magazine, in which one or a pair of images were published each week,
accompanied by a short piece of writing. This horse-tail photograph was first published in that column. In
the article, I wrote about options of seeing a horse. On photography, about seeing and reading, I put it a
lighthearted way.
After all, we did not follow up much on this original photographic paper postcards project. The photographs
were kept, and became curled inside a box after over thirty years. Not until recently, I had a chance to take them
out. I soaped all in water overnight, dried and flattened them under heavy weights once again.

(Travel with a Bitter Melon)
This is the title of a poem by Ping-kwan. He used this same title for a book, a bilingual collection of his poems
(1973-98) published by Asia 2000. This bitter melon photograph was for the book cover. I designed the cover,
as well as a bunch of images for book section sub-dividers. This bitter melon postcard was also one among
a series of cards I published in 1999, for promotional purpose. In the same year, on a trip to Tokyo, I wrote to
Holly with this card.

(Heavenly Temple)
1992 I was in Beijing, at the Heavenly Temple, for a photography assignment. Photographs were taken with a
large format camera. I used one of the 4x5 testing Polaroids as postcard and mailed to Holly. As usual, I will
send her postcards when she’s not by my side. I told her that the stone fence at the Tiananmen Square we saw
was not there anymore. Our first trip to Beijing was in 1981.

(Xinjiang)
In 1987, a group of Hong Kong artists, writers, musicians was invited for a cultural exchange trip to Xinjiang,
I was in that group. From Xinjiang, I wrote Holly several postcards, including this handmade piece, trimmed
cardboard from a package box. To me, anything that cut into the format of 4x6 inches can be served as a
postcard. Of course, someone might push this even further- I read from a magazine that somebody sent out a
coconut by postal directly, a bunch of stamps was glued directly on the shell. I told Holly, one night the group
was invited to stay at the Mongolian-style camps high in the pasture plateau. Over the top, the wide open starry
sky suddenly reminded me the sky of Guangzhou, when I lived there as a young boy.

(Boy)
I released a set of two-colour postcards in 1983, mainly making use of old family photographs as key images.
The photograph was set on a fat-bit screen, and layered on top, a fragment from one of my poems. This early
photograph was taken at a garden in Guangzhou. I was picking flowers (?), three years old then, shortly arrived
from Hong Kong to stay with my uncle, father’s elder brother. On the postcard, are the first five lines of a poem
titled “Chronology” I wrote in 1975. Katheryn Potterf and Anthony Thai translated this poem into English and
published it on West Coast Line, an American publication which dedicated the entire issue for a special feature
on Hong Kong’s literal and visual art in the late nineties.

(Father)
My father was holding a movie camera. In the first line of the poem I wrote, “My father is a photographer”. The
poem was, in fact, talking about family conflict and the generation gap. In 1998, In the book “A Collection of
Poems from Ten” 十 人 詩 選 , I included this poem into my section. I published, purposely, only the first stanza
and added a small note: “The original poem was lost, this is a fragment reprinted from a postcard published by
Camera Works in 1983”. Sometimes, when people get older, they tend to revise their early work, try to make it
more diluted. Perhaps I should put this as a new-write.

(A found poem)
Just two days ago, when I was flipping through my postcard collection albums, I found this poem. It was
written in 1983. It was a draft, hand-written on the back of a postcard, and never surfaced after thirty-seven
years. I am not surprised, the first ten years (from 60s) of my poetry writing, most work in this period are still
well kept, but they were much too green. If keeping is just for the sake of memories, I have thought of, turning
them into a piece of cubical papier mâché.
In the eighties we moved into photography, I wrote only occasionally, and most of those poems were not
properly kept. Some of them were scattered among notebooks, agenda calendars and like this one, was written
on the back of a postcard.

(The self portrait by error)
“I deliberately dodged all the rules”, Man Ray discovered his Rayograph solarization by mistake, somehow, the
machine can also trigger a creative result by error. This postcard was printed on a silver metallic card stock,
in offset process, with a print-run approximately 500 counts. On the verso side of the card, titled as “Selfportrait,
Holly and Wingo, 1980”. On the front, it is blank, in plain medium gross silver but metallic. I guess,
in a rare chance, the printing impression was skipped, out of the 500 print-runs, hence the reason it is blank.
The ‘missed out image’ was a straightforward photograph with the shadow of me and Holly casting on the
foreground, a snapshot taken with MINOX. The printing error turned my early days into conceptual.

(Strawberries)
I have a pair of air-blow, plastic strawberries, in a red colour, each in diameter approximately twenty inches. I
pressed them underneath a piece of thick glass and took a black and white photograph. This card was printed
with only one spot colour - in red.

(DESIGN EXCHANGE)
Summer I990, me and Holly were in New York, I got a message from Hong Kong- Wang Xu, (a Chinese
designer based in Hong Kong) asked me to create a cover image for the coming issue of DESIGN EXCHANGE,
an issue on overseas Chinese graphic designers. I worked with this magazine constantly, and my role of
photography assignment for them was rather free hand, my contribution, but had to include the concept as well.
This cover was photographed in my basement studio in New York. Among the props, the Tung Sing 通 勝 (a
Chinese divination guide and almanac) was purchased in Chinatown. Duchamp’s Discs Spiral was a replica set
I bought in the Museum of Modern Art. I shot on 4x5 transparency with a SINAR, in a limbo background.
This postcard, somehow, was an extension from the assignment picture, a mixed media collage for myself.
Over this testing Polaroid, I used red and yellow masking-tapes to mask out the white background. The next
thing, I mailed this original card back to my postal box in Hong Kong.

(A suitcase of imagination)
This was a promotional postcard I created in the early nineties, printed on double weight fiber-based
photographic paper. Only dozens copies were made, all sent to art-directors of advertising agencies. After all, I
am not sure who’s wise enough to still keep a copy. The early postcards in the market were real photographs, I
have a bunch of good ones in my collection.

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