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<strong>MONDAY</strong><br />
<strong>ARTPOST</strong><br />
<strong>1114</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/ Shelley Savor / Tamara<br />
Chatterjee / Wilson Tsang /<br />
+Pairing (Kai Chan):‐)Book Review<br />
Fiona Smyth CHEEZ 456<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
Book Review<br />
:‐)<br />
CHEEZ by Fiona Smyth<br />
480 pages, 8x10 paperback, $85.00<br />
Published by Ocean Pounds, May <strong>2022</strong>
Book Review<br />
:‐)<br />
CHEEZ by Fiona Smyth<br />
Paperback edition available at BLURB<br />
https://www.blurb.ca/b/11161209-cheez-456<br />
Ebook edition (pdf download) available at Ocean Pounds online shop<br />
https://oceanpounds.com/products/cheez-456<br />
PATREON Members<br />
Unlimited access all read-on-line edition of books published by Ocean Pounds<br />
Subscribe Membership (monthly membership fee starts from US$5.00)<br />
https://www.patreon.com/DoubleDoubleStudio
From the Notebooks<br />
(2010-<strong>2022</strong>)<br />
Gary Michael Dault<br />
From the Notebooks, 2010-<strong>2022</strong><br />
Number 163: Giacometti Comes to a Flaw in the Road (August 2, <strong>2022</strong>).<br />
The painting comes with a poem--or perhaps a near-poem:<br />
Giacometti came to a flaw in the road<br />
and stopped at once to adjust his load<br />
which spread on the ground<br />
like lemon peels<br />
behind his heels<br />
and while he pondered<br />
his fallen self<br />
a fox sauntered up and ate the parings<br />
leaving Giacometti to recast his bearings:<br />
and he came to a conclusion<br />
after a moment’s confusion:<br />
“Come, Annette, we need not<br />
linger here.”<br />
To which Annette replied<br />
“Very well, my dear.”
ART LOGBOOK<br />
Holly Lee<br />
Joni Stern bach<br />
https://clubofthewaves.com/surf-photographer/joni-sternbach/<br />
Process: Joni Sternbach: Documenting Surfers on Tintype<br />
https://intrepidcamera.co.uk/blog/joni-sternbach-tintype-surfers
TANGENTS<br />
Wilson Tsang<br />
The astronaut
Open/Endedness<br />
bq 不 清<br />
卡 式 錄 音 帶<br />
CASSETTE TAPES<br />
有 多 少 人 能 夠 一 直 沿 著 從 前<br />
走 過 的 蜿 蜒 小 路 回 到<br />
一 週 之 中 最 有 意 義 的 星 期 六<br />
迎 接 星 期 天 的 到 來<br />
How many of us can keep following the same<br />
Winding path you walked before and go back<br />
To the most meaningful day of the week, Saturday,<br />
in anticipation of Sunday,<br />
以 把 未 及 完 成 的 事 做 好 ?<br />
衣 櫃 裡 的 衣 物 不 用 摺 了 ; 天 空 的<br />
顏 色 從 未 轉 變 , 像 城 市 的 鏡 子<br />
單 純 但 多 疑 , 尤 其 當 你 走 近 的 時 候<br />
So that we can have the unfinished matters completed?<br />
Clothes in the wardrobe don’t need to be folded; The colours<br />
Of the sky have never changed, like the mirrors of the city,<br />
Simple and full of suspicion, especially when you approach<br />
你 總 是 往 前 望 但 又 同 時 顧 慮<br />
左 右 , 像 每 次 駛 過 同 一 個<br />
沒 有 交 通 燈 , 算 不 上 繁 忙 的 十 字 路 口<br />
究 竟 那 些 喇 叭 聲 從 何 而 來 ?<br />
And always look ahead but at the same time worry about<br />
Left and right, as if driving through the same intersection that<br />
Has no traffic lights and isn’t exactly busy,<br />
So where do those horns come from?<br />
凡 事 一 體 兩 面 , 建 築 物 的<br />
外 牆 以 內 是 另 一 個 世 界<br />
來 這 裡 的 人 每 週 都 一 樣 毫 無<br />
表 情 , 除 了 反 的 時 候<br />
Everything has two sides. Inside the exterior walls<br />
Of this building is another world.<br />
People come every week without<br />
Expression, except when they flip.
CHEEZ<br />
Fiona Smyth
The Photograph<br />
coordinated by<br />
Kamelia Pezeshki<br />
Azam’s collection by Kamelia Pezeshki
ProTesT<br />
Cem Turgay
Poem a Week<br />
Gary Michael Dault<br />
that a hammer<br />
can hold something<br />
in place?<br />
that Being<br />
is the Taking<br />
you don’t take?<br />
then there’s a hot train<br />
rattling beyond the woods<br />
with foaming cars<br />
and cigar smoke<br />
of pecking at<br />
his block of truth<br />
start to form again<br />
the way the sun<br />
fills in shadow<br />
his hands are open<br />
this is how<br />
a true day begins<br />
as the wounds<br />
of thinking<br />
go down before<br />
his prancing pulse<br />
The Philosopher’s Cottage*<br />
he is thinking by himself<br />
behind shutters<br />
with distance<br />
outside<br />
a pair of flaccid trees<br />
beyond the windows<br />
to attach<br />
with anger<br />
when ideas fail<br />
which are what?<br />
that rigidity<br />
can deliver insight?<br />
is it possible<br />
the passengers<br />
will stay bounded<br />
and not speak<br />
to one another?<br />
and he calls out<br />
like a bird<br />
pulling threads<br />
from his distemper<br />
his disclosures<br />
gleam in the moonlight<br />
bright as the eyes of animals<br />
passing<br />
as the train<br />
slows<br />
the consequences<br />
the open window<br />
admits the hard breeze<br />
of his rustling<br />
licentiousness<br />
he will write up<br />
these notes<br />
before the waters<br />
recede<br />
before he has to<br />
go home<br />
where there is little<br />
of kindness<br />
*There is admittedly some Heidegger here,<br />
but not enough, I trust, to be oppressive.
Caffeine Reveries<br />
Shelley Savor<br />
Old Sweater
Travelling Palm<br />
Snapshots<br />
Tamara Chatterjee<br />
France (March, <strong>2022</strong>) – In preparation of<br />
hibernation; I’ve been fixated on the last<br />
glimmers of daylight. Always mindful that the<br />
evening’s embrace arrives earlier than desired.<br />
As the winds shift and winter season draws<br />
closer, I am reminded that eventually the<br />
perpetual spring will return.
Leaving Taichung<br />
Station<br />
Bob Black<br />
A Balance in Wulai<br />
A<br />
bit of wind scampering,<br />
that unabated kiting that had not yet known the shadow-tang of sorrow<br />
and at flight with fear singing past the strain, a lullaby<br />
and over the rickruck raucous,<br />
the with and the other<br />
and the continent of wirld,<br />
the child and the chief bit into the night<br />
the heart’s fugitive cartography<br />
eye-to-eye in front of hamlet and hurt<br />
glib lulling of evocation, an integument of riddled sympathy<br />
face-to-face with the loneliness of senescent stomping-grounds<br />
and the two of you left from the cliff through the curtains of the waterfall,<br />
the cadence of enervated limbs caught between the rooster’s call and a wet kiss<br />
the elder’s stone knife and warning once dismissed.<br />
Yet<br />
language lay lackadaisical on the hill remnant above Taipei<br />
a body’s remains gapping contention, an arrow in its throat<br />
the left divestiture, to the right hawk, crow and ghost<br />
an inauspicious song looming along the spine of Yushan,<br />
typhoon and rackle, the story a fault line,<br />
a call rhymes up the hill<br />
a grandmother’s clack, the crack in the teacup teetering,<br />
gemstone ghosts and tatoo amore.<br />
A<br />
drop of water from the monkey’s bark springs the tree scattering,<br />
Ama’s story or your own rests on the largest side<br />
the black boar arched up, scampering and languishing in the weeds—<br />
the tides howling fall below or the stones from the ancient gods laying to rest<br />
knee, knife and crag along the velly and valley cloud eye, the lines on the back of her hands.<br />
Are there fallen places above and below remaining, ever?<br />
For: Tobie Openshaw, Sean Kaiteri, Michelle Kao and Amang Hung
Greenwood<br />
Kai Chan<br />
Study<br />
paper, wire
Order this duo-cover Exhibition Catalogue at BLURB<br />
https://www.blurb.ca/b/11309704-2k-4-0<br />
64 pages, 8.5x11 inch, paperback, CAD$35 each<br />
[2K 4.0] the fourth collaborative exhibition by Kai Chan<br />
and Lee Ka-sing. Exhibition runs thru December 10, <strong>2022</strong>,<br />
at 50 Gladstone Avenue artsalon, Toronto<br />
(visit by appointment mail@oceanpounds.com)<br />
(on wall) 16 works (Pairing) by Kai Chan<br />
(on table) an artist book by Lee Ka-sing<br />
View the artist book:<br />
[Songs from the Acid-free Paper Box] (for Holly)<br />
https://books.oceanpounds.com/<strong>2022</strong>/10/sab.html
Kai Chan<br />
Pairing ( 對 對 )<br />
16 works from the<br />
exhibition 2K 4.0
Paul & Mary<br />
61 x 54 x 15 cm<br />
balsa wood, maple, oil and acrylic paint
Karen & Frank<br />
57 x 59 x 10 cm<br />
balsa wood, maple, wire, acrylic paint
Sam & Nancy<br />
30 x 10 x 2,5 cm<br />
button, cider, balsa wood, maple, oil and acrylic paint<br />
George & Nancy<br />
82 x 27 x 2,5 cm<br />
paper, bamboo, balsa wood, maple, acrylic paint
Maria & Paolo<br />
38 x 29 x 9 cm<br />
glass bead, button, wood, wire, plastic twist, acrylic paint<br />
Alfred & Sam<br />
23 x 44 x 11 cm<br />
plastic twist, wire, acrylic paint
George & Sam<br />
117 x 46 x 13 cm<br />
cider, bamboo, silk thread, wire, dye<br />
Kim & Ginger<br />
gampi paper, wire, acrylic paint
Nancy & Sally<br />
36 x 32 x 5 cm<br />
balsa wood, rattan, dogwood, pine, acrylic paint<br />
Linda & Linda<br />
47 x 36 x 7 cm<br />
canvas, wire, acrylic paint
Kenny & Pinky<br />
43 x 29 x 19 cm<br />
plastic, plastic twister, wire<br />
Peter & Sammy<br />
button, equisetum, wood, wire, acrylic paint
Ginger<br />
13 x 21 x 7,5 cm<br />
cotton and silk thread, wire, acrylic paint
Asafetida<br />
19,5 x 8 x 5 cm<br />
cotton and silk thread, wire, acrylic paint<br />
Cayenne<br />
13,5 x 7 x 6,5 cm<br />
cotton and silk thread, wire, acrylic paint
Sumac<br />
19,5 x 8 x 5 cm<br />
cotton and silk thread, wire, acrylic paint
The galloping jelly pink horse with pea green spots<br />
Paperback edition available at BLURB<br />
https://www.blurb.ca/b/11322399-the-galloping-jelly-pink-horse-with-pea-green-spo<br />
PATREON Members<br />
Unlimited access all read-on-line edition of books published by Ocean Pounds<br />
Subscribe Membership (monthly membership fee starts from US$5.00)<br />
https://www.patreon.com/DoubleDoubleStudio
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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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Booking:<br />
mail@indexgbb.com<br />
416.535.6957
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