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<strong>MONDAY</strong><br />
<strong>ARTPOST</strong><br />
<strong>0116</strong>-<strong>2023</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 /<br />
Tamara Chatterjee / Wilson Tsang /<br />
Yam Lau + Day of watching snow<br />
(Edwin Kwan)<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
DOUBLE DOUBLE<br />
City Mirage Snow<br />
http://books.oceanpounds.com/2022/12/cms.html<br />
The Fence the Garden the Connoisseur<br />
https://books.oceanpounds.com/2022/05/dd202205.html<br />
The Painter The Photographer The Alchemist<br />
http://books.oceanpounds.com/2022/12/ppa.html<br />
The galloping jelly pink horse with pea green<br />
spots<br />
http://books.oceanpounds.com/2022/10/phgs.html<br />
Reality Irreality Augmented Reality<br />
http://books.oceanpounds.com/2022/10/rar.html<br />
The Book The Reader The Keeper<br />
https://books.oceanpounds.com/2022/09/dd202208.html<br />
Windmills Fields and Marina<br />
http://books.oceanpounds.com/2022/07/wmf.html<br />
Island Peninsula Cape<br />
http://books.oceanpounds.com/2022/05/blog-post.html<br />
Hana Picnic Stones<br />
https://books.oceanpounds.com/2022/04/dd202204.html<br />
Terrain Little Red Riding Hood Rosetta<br />
https://books.oceanpounds.com/2022/03/dd202203.html<br />
Donkey camera and auld lang syne<br />
https://books.oceanpounds.com/2022/02/dd202202.html<br />
The Fountain the Shop the Rhythmic Train<br />
https://books.oceanpounds.com/2022/01/dd202201.html<br />
The Fence, the Garden, the Connoisseur/ DOUBLE DOUBLE May edition 2022/ Anna Torma
Lee Ka-sing<br />
CODA (2020)<br />
https://books.oceanpounds.com/2022/12/coda.html<br />
Diary of a Sunflower, Book Two (2022)<br />
https://books.oceanpounds.com/2022/12/ds.html<br />
Eighty Two Photographs (2021)<br />
https://books.oceanpounds.com/2021/10/82p.html<br />
Time Machine (2021)<br />
https://books.oceanpounds.com/2021/12/tm.html<br />
Songs from the Acid-free Paper Box (2022)<br />
https://books.oceanpounds.com/2022/10/sa.html<br />
Songs from the Acid-free Paper Box<br />
Museum edition (2022)<br />
https://books.oceanpounds.com/2022/10/sab.html<br />
“That Afternoon” on Mubi, a dialogue: Tsai<br />
Ming Liang and Lee Kang-Sheng (2022)<br />
https://books.oceanpounds.com/2022/11/ta.html<br />
The Travelogue of a Bitter Melon (2022)<br />
https://books.oceanpounds.com/2022/11/tbm.html<br />
Swan House (2021)<br />
https://books.oceanpounds.com/2022/12/swanhouse.html<br />
“Journeys of Leung Ping Kwan” (<strong>2023</strong>)<br />
http://books.oceanpounds.com/<strong>2023</strong>/01/pk.html<br />
Songs from the Acid-free Paper Box/ Lee Ka-sing
Holly Lee<br />
Nine-Years (2020)<br />
https://books.oceanpounds.com/2020/02/ny.html<br />
Istanbul Postcards (2021)<br />
https://books.oceanpounds.com/2021/07/ip.html<br />
DOUBLE DOUBLE Box in a Valise a closecropped<br />
(2020)<br />
https://books.oceanpounds.com/2020/05/ddb-cc.html<br />
DOUBLE DOUBLE Box in a Valise on-site<br />
(2020)<br />
https://books.oceanpounds.com/2020/05/ddb-os.html<br />
Six Poems (2022)<br />
https://books.oceanpounds.com/2022/11/6p.html<br />
7<br />
4<br />
The Air is like a Butterfly (2021)<br />
https://books.oceanpounds.com/2021/07/tab.html<br />
6<br />
Gary Michael Dault<br />
Still Life Still A Book of Vessels (2022)<br />
https://books.oceanpounds.com/2022/09/bv.html<br />
The Book of The Poem (2022)<br />
https://books.oceanpounds.com/2022/08/bp.html<br />
5 2<br />
The Nearby Faraway Small Paintings on<br />
Cardboard (2022)<br />
https://books.oceanpounds.com/2022/09/small-paintings-on-cardboard.html<br />
9<br />
10 11<br />
Time Machine (2021) photographs by Lee<br />
Ka-sing, Haiku by Gary Michael Dault<br />
https://books.oceanpounds.com/2021/12/tm.html<br />
1<br />
Swan House (2021)<br />
https://books.oceanpounds.com/2022/12/swanhouse.html<br />
DOUBLE DOUBLE Box in a Valise on-site
Forest Growth<br />
(1” X 1¼” X 5”) Papier-Mâché, Fimo, Leaves, Gouache, Acrylic<br />
Calendar Beauty Vintage Calendar posters<br />
from China<br />
https://books.oceanpounds.com/2020/03/cb.html<br />
Kai Chan<br />
Twenty Twenty An exhibition by Kai Chan<br />
https://books.oceanpounds.com/2021/09/tt.html<br />
2K-4.0 (Kai Chan + Lee Ka-sing)<br />
https://books.oceanpounds.com/2022/10/2k40.html<br />
Libby Hague<br />
Libby Hague Watercolours<br />
https://books.oceanpounds.com/2022/11/lhw.html<br />
Tomio Nitto<br />
The Diary of Wonders<br />
https://books.oceanpounds.com/2021/10/dw.html<br />
Fiona Smyth<br />
CHEEZ 456<br />
https://books.oceanpounds.com/2022/05/c456.html<br />
Shelley Savor<br />
Mushrooms and Clouds but no Mushroom<br />
Clouds<br />
https://books.oceanpounds.com/2022/09/mcmc.html<br />
Mushrooms and Clouds (but no Mushroom Clouds)/ Shelley Savor
Caffeine Reveries<br />
Shelley Savor<br />
Drifting in the Grey
Poem a Week<br />
Gary Michael Dault<br />
More Snow<br />
new snow fills up the backyard<br />
trees bend under it<br />
cats keep to the shoveled paths<br />
the deep-frozen car<br />
is mounded<br />
like a polar bear<br />
icicles three feet long<br />
glisten from the eavestroughs<br />
they will fall like swords<br />
when the sun comes out<br />
it’s hard to picture<br />
bulbs<br />
under the snow<br />
snowdrops and crocuses<br />
ticking like alarm clocks
TANGENTS<br />
Wilson Tsang<br />
Night Watch
Night Owl Sonata<br />
Holly Lee<br />
Thirty One<br />
(Reading the photographs of Walker Evans and Anastasia Samoylova in the book<br />
Floridas)<br />
I didn’t know Walker Evans also drew. I celebrate his photographs as much as<br />
Anastasia’s. Is pink the colour of Florida? Seems authentic, but I also saw blue,<br />
rusty red, Tyrian purple and all the others. His photographs and paintings, in<br />
black and white, muted blue, green, gray and brown; hers, a kaleidoscope of<br />
rainbow splashes. How her Barge Reflection reminds me of a Xinjiang scarf, the<br />
mirage of a metropolis, and all the green pastures, rising. She always gives more;<br />
her density and vibrancy leave me in awe. Which comes first, her eyes, her heart,<br />
or her camera. I once saw Evan’s picture of a Resort Photographer, she and her<br />
woman sitter, her props an ocean liner, short palm trees, two or three pelicans, and<br />
an alligator. She bent down, with both hands securing the tripod, she inspected<br />
the horizon, the pristine blue water of the Gulf of Mexico. Anastasia’s alligator<br />
in Gatorama baths in a pink brick; blue-tiled pool of water jetting out from a<br />
tube. From Evan’s ladder to Anastasia’s ladder, from John Rybovich & Sons to<br />
Michael Rybovich & Sons, from 1960 to 2021. In the rendezvous in Florida, she<br />
encountered the American south, signs and letters, light, patterns, layer by layer.<br />
Her viewfinder finds more–there is order in chaos, and chaos in order. Is this<br />
delusion or reality? In this picture of a dome house, where a horizontal flag flying<br />
on its pole, she spotted the upside-down America.
… 談 笑 間 …<br />
Yam Lau
https://oceanpounds.com<br />
New Look. More Content
Travelling Palm<br />
Snapshots<br />
Tamara Chatterjee<br />
USA (November, 2000) – We arrived at<br />
Monument Valley via the Valley of the gods;<br />
as the glowing light of a majestic sunset<br />
had begun to settle against the horizon,<br />
showcasing the monumental buttes in full<br />
glory. We spent the night in the lodge, before<br />
meeting with our Navajo guide first thing<br />
the following morning. She navigated us<br />
towards numerous mythical sites including;<br />
the Mittens, the Ear of the Wind, the Eye<br />
of the Sun and the Three Sisters. All much<br />
more magical under a dusting of snow, which<br />
unfortunately evaporated with the midday<br />
sun.
Open/Endedness<br />
bq 不 清<br />
他 也 戴 墨 眼 鏡<br />
HE ALSO WORE SUNGLASSES<br />
他 們 需 要 約 翰 阿 什 貝 利<br />
為 我 昨 晚 夢 中 的<br />
一 宗 命 案 協 助 調 查<br />
John Ashbery was wanted<br />
For a homicide case<br />
Last night In my dream.<br />
在 警 察 登 門 之 前<br />
我 沿 火 災 逃 生 樓 梯<br />
來 到 他 的 住 所<br />
Before the cops arrived,<br />
Through the fire escape<br />
I got to his apartment.<br />
他 不 在 , 事 實 上<br />
他 已 經 好 久<br />
不 在 那 裡 住 了<br />
He wasn’t there, in fact<br />
He hadn’t been there for<br />
Some time now.<br />
之 後 在 紀 念 品 商 店 我 遇 見 他<br />
全 身 穿 著 白 色 衣 裳 , 甚 至<br />
戴 著 一 對 雪 白 的 手 套<br />
Then at a souvenir shop, I saw him<br />
All dressed in white. He was<br />
Even wearing a pair of white gloves.<br />
「 為 什 麼 要 把 我 的 詩<br />
印 在 冰 箱 磁 貼 上 呢 ?」 他 問<br />
「 因 為 我 們 需 要 你 啊 」 我 回 答<br />
“Why would they put my poetry<br />
On fridge magnets?” He asked.<br />
“Because you are wanted.” I replied.
ProTesT<br />
Cem Turgay
From the Notebooks<br />
(2010-2022)<br />
Gary Michael Dault<br />
From the Notebooks, 2010-<strong>2023</strong><br />
Number 162: Putin’s Moon (January 8, <strong>2023</strong>)
CHEEZ<br />
Fiona Smyth
Greenwood<br />
Kai Chan<br />
Study<br />
wood, papier maché, wire, acrylic paint, dye
Leaving Taichung<br />
Station<br />
Bob Black<br />
萬 里 (10,000 Li)<br />
“Years staining from the inside out.”—Jenny Xie<br />
“There is, you see, no shortage of gain and loss.”—Diana Khoi Nguyen<br />
Your fingers ink the world regardless of station and tributaries<br />
the stains you left behind in your exiting<br />
the turnstile of your voice<br />
the paw marks damp in the earth<br />
the ones followed, ineluctably<br />
an abacus of flight.
Your fingers ink the world newspaper brief<br />
the paper cup of fried chicken grease along the footsteps, ascending<br />
toward a corner of Feng Chia’s cacophonous night of bodies<br />
lit of traffic love and baobao managing thumb grease and lips bright, alight<br />
neon toward our disappearance, hearts and ambition<br />
pen the clatter of porcelain, upended bowls, spattered napkins, keeling sputters<br />
abrasions made right by the sharing of looks over food-stalls and boot’d love<br />
the barking in this negotiated night, animal innards and teen dreams awkward, beibei<br />
luminous in the abacus of flight.<br />
Your fingers ink the world turning, left<br />
the balcony you left behind in your upending<br />
to shift through hickory and honey-comb’d light<br />
to unseat a wobbly head and regain the recumbent, flickering heart<br />
to reclaim the light in the lantern light window<br />
to unease someone alone and carving out a memory, erase<br />
to let the trip disappear completely, an evaporated stain on the lily and lace<br />
the paw marks damp in the earth<br />
the ones dreamed up before let loose late in the afternoon, the lines along the laundry<br />
a man walking in circles in the nude around a box,<br />
the distance we once imagine for the entirety of our life, ineffable.<br />
love, the name we shaped with our tongues before departing once and forever stained<br />
the countries we drew upon, the rhymes we spoke, the food we shared, the nights dimpled<br />
unamended and spoken once again from the inside out, we were the gain and the loss<br />
life’s rich demand and two organs, two mouths and two bands of recumbent helix and two<br />
words,<br />
the two of us added up into two characters and infinite stories, composed of ink strokes<br />
multitudinous and clear<br />
beads of repining fingers over the pinewood that smoked the squid, the ink rending our<br />
mouths:<br />
萬 里<br />
as the tenderness of the stars falls away.<br />
For: three poets of grief, Jenny Xie, Diana Khoi Nguyen and Wan-lin Yang<br />
Our fingers ink the world, the abacus of light<br />
the time it took to cross the ocean from this life to the next<br />
10,000 books and 10,000 words and 10,000 moments and 10,000 chambers of grief
ART LOGBOOK<br />
Holly Lee<br />
Samuel Fosso, at The Maison Européenne de la Photographie, Paris<br />
https://www.jmpatras.com/exhibitions/9/installation_shots/image_standalone259/
The Photograph<br />
coordinated by<br />
Kamelia Pezeshki<br />
Body of One, Architecture of Self by Peggy Taylor Reid, 2019-20<br />
Mixed media collage over photo image transfer
Edwin Kwan<br />
Day of watching snow<br />
( 看 雪 的 日 子 )<br />
4 photographs<br />
(<strong>2023</strong>)
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