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<strong>MONDAY</strong><br />
<strong>ARTPOST</strong><br />
<strong>1010</strong>-<strong>2022</strong><br />
ISSN1918-6991<br />
<strong>MONDAY</strong><strong>ARTPOST</strong>.COM<br />
Columns by Artists and Writers<br />
Bob Black / bq / Cem Turgay /<br />
Fiona Smyth / Gary Michael Dault<br />
/ Holly Lee / Kai Chan / Kamelia<br />
Pezeshki / Ngan Chun-tung /<br />
Tamara Chatterjee / Wilson Tsang /<br />
+ Sculpture works (Shelley Savor)<br />
<strong>MONDAY</strong> <strong>ARTPOST</strong> published on Mondays. Columns by Artists and Writers. All Right Reserved. Published since 2002.<br />
An Ocean and Pounds publication. ISSN 1918-6991. email to: mail@oceanpounds.com
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Hans Christian Andersen
From the Notebooks<br />
(2010-<strong>2022</strong>)<br />
Gary Michael Dault<br />
From the Notebooks, 2010-<strong>2022</strong><br />
Number 158: Spider Island (December 12, 2011)
Greenwood<br />
Kai Chan<br />
Drawing.<br />
Watercolour and pastel on paper
Open/Endedness<br />
bq 不 清<br />
六 度 分 隔 理 論<br />
莫 非 你 也 相 信<br />
鬼 神 的 存 在<br />
在 於 來 自 房 間 內 裡 的<br />
一 陣 風 或<br />
難 以 想 像 的 寧 靜 ?<br />
SIX DEGREES OF SEPARATION<br />
Is it possible that you also believe in<br />
The existence of ghosts and gods<br />
For from deep inside a room comes<br />
A breath of wind or<br />
An unimaginable silence?<br />
就 像 男 人 想 像<br />
穿 裙 子 時 的 感 覺 又<br />
或 者<br />
一 扇 門<br />
無 緣 無 故 地 打 開<br />
It is like a man trying to imagine<br />
The feeling of being in a dress or<br />
Maybe<br />
It’s a door<br />
Opens unexpectedly.<br />
冬 天 和 春 天 之 間 並 沒 有<br />
一 條 明 顯 的 界 線<br />
正 如 兩 個 常 有 衝 突 的 國 家<br />
卻 又 溫 柔 一 點 如<br />
一 場 小 雪 中<br />
There is no clear boundary<br />
Between winter and spring<br />
Like the one between two countries at odd<br />
But a little gentler like<br />
In a brief snowfall,<br />
那 些 能 夠 止 渴 的 雪 花<br />
來 臨 也 只 是 為 了<br />
在 不 作 出 物 質 上 的<br />
破 壞 下 迅 速 地<br />
消 失 。 而 在 網 絡 上 爭 論<br />
Flurries quench the thirst<br />
And their being here is only<br />
To disappear quickly<br />
Without destroying anything<br />
Tangible. And definitions resulted through<br />
人 口 數 量 所 帶 來 的 定 義<br />
多 彩 多 姿 如 一 百 顆<br />
巧 克 力 : 九 十 五 顆 紅 色 的<br />
兩 顆 紫 色 的 、 兩 顆<br />
藍 色 的 , 只 有 一 顆 是 黃 色 的<br />
Internet debates concerning population growth<br />
Are as colourful as the hundred<br />
Candies: ninety-five are red;<br />
Two are purple; two are<br />
Blue; only one is yellow.
ART LOGBOOK<br />
Holly Lee<br />
David Lee Hoffman’s sanctuary to showcase his ideas about the environment sustainability: the Shower<br />
Tower, the Worm Palace, the Tea Cave, the Tea Pagoda and so many more.<br />
https://thelagunitasproject.org/the-last-resort/watch-the-documentary/<br />
(videos, three episodes, total 16 mins.)<br />
Nuit Blanche <strong>2022</strong><br />
https://vimeo.com/756956265<br />
(video 1:06)
CHEEZ<br />
Fiona Smyth
TANGENTS<br />
Wilson Tsang<br />
The child (and his void)
Poem a Week<br />
Gary Michael Dault<br />
Balance<br />
a hurricane’s<br />
heavy disorder<br />
offers<br />
a vast<br />
ballooning figure<br />
representing runaway force<br />
against which<br />
I proudly hold up<br />
my small white horse<br />
as if it were a sharp gale<br />
blowing the opposite way<br />
Note: the admitted oddness of this little poem<br />
may be at least partly traceable to the fact<br />
that it was entirely dreamed. Which doesn’t<br />
happen very often to me. GMD
Travelling Palm<br />
Snapshots<br />
Tamara Chatterjee<br />
“Uzbekistan (November, 2019) – After a<br />
long day of roaming the last of the historical<br />
sights we skirted around the maze of passages<br />
surrounding the Bibi-Khanym mosque.<br />
Taking turns trying to maneuver the dainty<br />
narrows between motor vehicle and merchant<br />
carts. With great excitement we found a<br />
little restaurant with a perfect view within a<br />
stonesthrow of the majestic mosaic domed<br />
roofs. We watched the evening sky illuminate<br />
with its descending blue hues, eating hearty<br />
plov, as a final farewell to Samarkand.”
Yesterday Hong Kong<br />
Ngan Chun Tung<br />
Woman Ploughing (Yuen Long, 1958)<br />
8x10 inch, gelatin siver photograph printed in the nineties<br />
Edition 3/100, signed and titled on verso<br />
From the collection of Lee Ka-sing and Holly Lee
The Photograph<br />
coordinated by<br />
Kamelia Pezeshki<br />
Untitled by Kamelia Pezeshki
Leaving Taichung<br />
Station<br />
Bob Black<br />
19 Fragments of Youth, Athirst<br />
“Have you feared the future would be nothing to you?”--Whitman<br />
V: 1990<br />
One month after my third birthday, the burning kite returned on the other side of the world:<br />
history or luck, it is hard to say.<br />
On the evening of June 29th, my grandmother sat on her red bucket, her hopes abloom,<br />
as she sang a lullaby into a small red and blue envelope,<br />
my name inked like web and tea-stain<br />
onto the front of the 5-cent envelope in nervous, new letters<br />
the shape of a calculus she had been diligently studying<br />
as a way to fend off the inevitable,<br />
for she’d learned as a child to write and to sing,<br />
the way you raise incense before oranges and tarnished coins,<br />
as an exercise in saving a life--gestural.<br />
and poured her entirety into the pocket between gum and breath and paper.<br />
She finished the final rhyme and breathed strange sounds into the flap,<br />
as she sealed the triangle with a kiss of red candle wax<br />
and whispered dreams stitched with incense and potassium and egg yolk.<br />
Then, suddenly, light entered into her kitchen as a dropped spoon<br />
and she turned and waited to make sense of the story unfolding before her<br />
and paused, an accordion flapping love songs across the alleyway and of her:
And the fish appeared, like love or hail or premonition.<br />
Just as in the year I was born, the eel again,<br />
and it slipstreamed into her<br />
life through the moldy kitchen and the fallow laundry drying:<br />
dragon-light and eggplant hued,<br />
and change burst upon the world and my grandmother waited to see where the eel would river to,<br />
circling.<br />
And circle it did, a few times in the corner until it spotted her red bucket, entwining itself<br />
like wind around a tossed-aside styrofoam cup,<br />
and along the shoulders of the bucket and she listened to its gasp<br />
and she listened also to the frantic knocking of the neighbor’s threats and admonitions,<br />
from whom it had escaped, in search of something more fundamental.<br />
The water-bound seeks the dried riverbed for love.<br />
VI: 1999<br />
The year I learned that my heart was not easily taken, I tried to give it away<br />
along the tunnel of a peeling street in Taichung.<br />
A boy walked up to me and asked me for a kiss, I smiled and thought of the River Lu:<br />
frozen in winter and shifting beneath.<br />
I let him kiss me and let him taste the river inside me but he was only concerned with my tongue<br />
and breasts and could not hear the story I was trying to tell him.<br />
I let him take what he wished and in his greed and deafness he didn’t comprehend what I was<br />
willing to give:<br />
the story of my life, caught up in wind and of horses and light like cricket song.<br />
The next morning, I walked out into the light and I was free.<br />
And in that moment, my grandmother placed my letter on the table,--<br />
between an eel appearing and a letter embarking what really is the choice,--<br />
and reached down and embraced the fish as her own,<br />
body to breath, guttural language to syllabic hope,<br />
and held it against her body and the eel softened<br />
and my grandmother closed her eyes<br />
and wept.<br />
They both knew:<br />
the time had come,<br />
when land and nation and certainty move and there is but soul choice<br />
when one must be ready to depart.<br />
death or reshaping or something simpler.<br />
The this of the that and<br />
the move through transformation out and in.<br />
And we all,<br />
eel and grandmother and family hope<br />
shifted<br />
and I have been ready ever since.
ProTesT<br />
Cem Turgay
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Shelley Savor<br />
Sculpture works
Earth Suit<br />
(3½” X 2¾” X 1”) Papier-Mâché, Fimo, Leaves, Gouache, Acrylic<br />
Magic Embrace<br />
(1½” X 4” X 4½”) Papier-Mâché, Fimo, Leaves, Gouache, Acrylic
Forest Growth<br />
(1” X 1¼” X 5”) Papier-Mâché, Fimo, Leaves, Gouache, Acrylic<br />
Forest of Funghi Dreams<br />
(2½” X 1½” X 2½”) Papier-Mâché, Fimo, Leaves, Gouache, Acrylic
Cloud Guardian<br />
(3” X 2” X 1”) Fimo, Leaf, Gouache, Acrylic<br />
Branching Out<br />
(5 ½” X 4 ¼” X 1¼”) Fimo, Leaves, Gouache, Acrylic
Undergrowth<br />
(1¾” X 3¾” X 2¼”) Papier-Mâché, Fimo, Leaves, Gouache, Acrylic<br />
Mush Room<br />
(1” X 1½” X 2”) Papier-Mâché, Fimo, Gouache, Acrylic
Forest Friend<br />
(1¾” X 1½” X 1½”) Fimo, Gouache<br />
Leaf Guardian<br />
(2½” X 2” X 1¼”) Fimo, Leaves, Gouache
Mushrooms and Clouds (but<br />
no Mushroom Clouds)<br />
Paperback Edition<br />
56 pages, 8”x10”, perfect bound.<br />
Published by OCEAN POUNDS.<br />
Order paperback edition at BLURB (CAN$35):<br />
https://www.blurb.ca/b/11270926-mushrooms-and-clouds-but-no-mushroom-clouds<br />
ebook (US$5.00), pdf download. Bonus: access code for read-on-line edition<br />
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This book was published on the occasion of the exhibition Mushrooms and<br />
Clouds (but no Mushroom Clouds), held at 50 Gladstone Avenue artsalon in<br />
Toronto, October 1-29, <strong>2022</strong>.
Under the management of Ocean and Pounds<br />
Since 2008, INDEXG B&B have served curators, artists,<br />
art-admirers, collectors and professionals from different<br />
cities visiting and working in Toronto.<br />
INDEXG B&B<br />
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