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MONDAY

ARTPOST

1205-2022

ISSN1918-6991

MONDAYARTPOST.COM

Columns by Artists and Writers

Bob Black / bq / Cem Turgay /

Fiona Smyth / Gary Michael Dault

/ Holly Lee / Kai Chan / Kamelia

Pezeshki/ Shelley Savor / Tamara

Chatterjee / Wilson Tsang / Yam Lau

+ A suite of ten paintings (Ying

Chi TANG)

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


Greenwood

Kai Chan

Study

paper, wire


[2K 4.0] the fourth collaborative exhibition by Kai

Chan and Lee Ka-sing. Exhibition runs thru December

10, 2022, at 50 Gladstone Avenue artsalon, Toronto

(visit by appointment mail@oceanpounds.com)

(on wall) 16 works (Pairing) by Kai Chan

(on table) an artist book by Lee Ka-sing

View the artist book:

[Songs from the Acid-free Paper Box] (for Holly)

https://books.oceanpounds.com/2022/10/sab.html


ProTesT

Cem Turgay


Poem a Week

Gary Michael Dault

In one of his Lorca Variations*

Jerome Rothenberg

says of Lorca and his Spain

glass beehive

to which I now wish to add

glass shovel

and

glass bird nest

a spun glass bird nest

still warm

*Jerome Rothenberg, “Lorca Variations VII”,

The Lorca

Variations (New York: New Directions, 1993),

p. 17


TANGENTS

Wilson Tsang

White Noise


… 談 笑 間 …

Yam Lau

Tai Chi as Space Clearing

I often think of the practice of Tai Chi as a kind of drawing or making an

energy (qi 氣 ) diagram in space. I feel the movement traces invisible lines

that are intensive and self-generating, not unlike those of a weather map.

One feels the diagram is simultaneously abstract and natural; it forms a

living current of energy in the immediate environment.

Aside from health benefits, I think Tai Chi generates gentle and positive

energy that nurtures and cleanses the space. The practice is a sort of “space

clearing”. My next video project will be about Tai Chi as an act of drawing

or composing energy diagrams that have a subtle, yet palpable impact

on the quality of space. In this new work, I envision Tai Chi will produce

intensive lines that could be read as a visual score. This visual score serves

as a template for meditative contemplation. Last Friday I went to Ka-Sing’s

place to make some test footage. He shot some footage with a film camera.

The work made me very happy.


From the Notebooks

(2010-2022)

Gary Michael Dault

From the Notebooks, 2010-2022

Number 156: Goldflower (October 31, 2022)


Open/Endedness

bq 不 清

小 古 玩

BRIC-A-BRAC

歷 史 學 家 與 考 古 學 家 把

所 有 的 樂 趣 拿 走 , 像 一 群

好 奇 的 孩 子 走 進 一 間 古 董

瓷 器 店 , 在 野 外 的 蒲 公 英 前

Historians and archeologists take

the fun out of everything like a group of

Curious children walking through an antique

Porcelain store, holding their breath

屏 住 呼 吸 , 直 到

為 時 已 晚 但 同 時 又 為 時 過 早 地

說 出 那 裡 到 底 發 生 了 什 麼 事

一 切 事 情 必 須 緩 慢 地

Before the dandelions in the open until

It’s too late but at the same time too early

To tell what exactly happened there.

Everything must be played out

進 展 如 所 有 交 響 樂 的 第 二

樂 章 —— 嗯 , 幾 乎 所 有 ——

而 到 達 收 結 點 的 時 候

依 照 傳 統 , 我 們 又 不 能 夠

Slowly like all symphonic second

Movements — well, almost all —

And when we get to the end of it

Applauding is not allowed if you believe

鼓 掌 。 我 們 似 乎 喜 歡 好 的 悲 劇

尤 其 那 些 涉 及 某 種 形 式

無 法 把 痛 苦 組 合 起 來 的

折 損 。 那 是 樂 高 積 木 的 作 用

In tradition. We seem to enjoy good tragedies,

Especially those involve in certain form of

Breaking that avoids putting pain

Back together. That’s what Lego are for.


The Photograph

coordinated by

Kamelia Pezeshki

Cake, from Scattered series by Kamelia Pezeshki


ART LOGBOOK

Holly Lee

Yma Sumac Live in Moscow 1960 chuncho (video 6 mins.)

https://www.youtube.com/watch?v=cHCro9NYccs


CHEEZ

Fiona Smyth


Caffeine Reveries

Shelley Savor

Cloud Rescuers


Travelling Palm

Snapshots

Tamara Chatterjee

Republic of Karakalpakstan (November,

2019) – After our foray into the wild and

wacky tour of remains of the Aral Sea; we

ventured back towards the Mizdarkhan

necropolis. Within the archeological rubble;

remnants of arches, crosses and even piles

of stones can be seen. The site dating back

to the 4th century has undergone much

gentrification, but what remains of the

original Zoroastrian site really was a little

marvel against the monotonous great sands

of the silk road. It appears that superstitious

pilgrims pile stones on the structure ensuring

the world remains standing. Bless them!


Leaving Taichung

Station

Bob Black

紅 燒 肉 and Apple

“the big chore is always the same: how to begin a sentence, how to continue it, how to complete it…”—

Claude Simon

To begin—

suddenly,winter breaks through the window, barking from the deep back den of its throat

night trolls for bite or bicker, a black chinook bitching up a storm

and she is up

and about and cannot outwit the pursuit as dreams pry apart the bones from the fat caging her

heart

and sleep,

who can calculate the distance of the shadows in the meadows from the terrain of longing—

ink splattered on paper or our lives dipping falling below sea level

a Rorschach all the while he sleeps

soundly an ocean and eleven time zones away

unaware and tidily awakening:

lives render, lightening flies hang as tombstone, frontier marker or lantern--

who can conclude?

Long is the day in search of words and the oomph that surrounds

the dew on the knuckle branch

the color exiled from a chipped wall

the stain flowering on the pillow from the imprint of your passage.

the elong line that measures the notebook’s blue-space, white between us.

To continue,

later the morning’s black handle liens into a mortgaged wrist, bowed beneath the tug of hibernal

wind,

she sniffs out food and recipes that will warm and wind her down from the departed

somnambulant conjuring nutrient from the earth and the breeze from the sea settles 九 份


a cool longing downward like rust and ore and peanut-braised crème

she finds in the algebra of 紅 燒 肉 and maple and apple, his voice

and where they were one, oneiric

though he is still

soundly an ocean and eleven time zones away,

scootering off, untied and adrift with to aquatic sleep.

Short the night of making rhyme from beast.

Short the space between the syllables of your name, cutlery and nest.

To continue,

then she marks the wind, minnows teething at her ankles and heart,

marks the way the fork fell and the fat splattered and stained more than just her shirt.

If only your accented words perched closer to me, elliptical upon your thinning lips

she thinks as lentil and laughter and letting-go sways

and language behind her eyes dispatches the winter and the wreck of her sleep

with meal and matter and an Atayal platter--

I am hastening toward you.

To continue,

late he wanders neighborhoods semblant and moonburned

cars caught in the boulevard’s lamplights, streetwalkers spark and deer pivot red in the bright

he speaks to her softly asking questions like spoonnotes into the night

who triangulates an ocean and crews the meal, eleven time zones,

whose organs know neither distance nor space, wiping way

as the pink crumbs of an eraser’s maker swiped from paper, the old conundrum

do we dare or do we dare?

To complete

you in winter full-bellied, I come running wobbly and wicked and wearied of roam,

our hope the chronometer of this, the pace click sweep by click sweep, step

our cuisine and carriage and life carnival carrying us soundly,

an ocean and eleven time zone away

once again toward home.


Ying Chi TANG

Ying Chi TANG

A suite of ten paintings

Ying Chi TANG obtained her bachelor’s degree in

Fine Art from Goldsmiths College of the University

of London in England and master’s and doctoral

degrees in Fine Art from Royal Melbourne Institute

of Technology University in Australia respectively.

She is an active art practitioner who merged various

roles as practicing artist, educator, curator and

writer. She has held over twenty solo exhibitions

and participated in various group exhibitions

internationally She also obtained numerous awards,

such as Professor May-ching Kao Arts Development

Fund (2021), Visiting Fellow at the Hong Kong

Design Institute (2016-17), Artist Residency at

the Hong Kong Museum of Coastal Defence and

Art Quarter Budapest in Hungary (2015), Faculty

of Art of Chiangmai University in Thailand

(2012), Department of Visual Studies of Lingnan

University (2010), and People of the Time at the 60th

Anniversary of the British Council in Hong Kong

(2008), and the Urban Council Fine Arts Award at

the Contemporary Hong Kong Art Biennial (1996).


Under the management of Ocean and Pounds

Since 2008, INDEXG B&B have served curators, artists,

art-admirers, collectors and professionals from different

cities visiting and working in Toronto.

INDEXG B&B

48 Gladstone Avenue, Toronto

Booking:

mail@indexgbb.com

416.535.6957

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