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<strong>MONDAY</strong><br />
<strong>ARTPOST</strong><br />
<strong>0123</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 />
+ Vintage photographs of<br />
Hong Kong by Yau Leung<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 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 />
The Fence the Garden the Connoisseur<br />
https://books.oceanpounds.com/2022/05/dd202205.html<br />
Hana Picnic Stones<br />
https://books.oceanpounds.com/2022/04/dd202204.html<br />
Terrain Little Red Riding Hood Rosetta<br />
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Donkey camera and auld lang syne<br />
https://books.oceanpounds.com/2022/02/dd202202.html<br />
The Fountain the Shop the Rhythmic Train<br />
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The Book The Reader The Keeper/ DOUBLE DOUBLE August edition 2022/ Ushioda Tokuko
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 />
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“Journeys of Leung Ping Kwan” (<strong>2023</strong>)<br />
http://books.oceanpounds.com/<strong>2023</strong>/01/pk.html<br />
CODA/ 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 />
The Air is like a Butterfly (2021)<br />
https://books.oceanpounds.com/2021/07/tab.html<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 />
The Nearby Faraway Small Paintings on<br />
Cardboard (2022)<br />
https://books.oceanpounds.com/2022/09/small-paintings-on-cardboard.html<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
Sleeping Beauty 2021<br />
17 x 35 x 2.5 cm, wire<br />
Calendar Beauty Vintage Calendar posters<br />
from China<br />
https://books.oceanpounds.com/2020/03/cb.html<br />
Kai Chan<br />
2K-4.0 (Kai Chan + Lee Ka-sing)<br />
https://books.oceanpounds.com/2022/10/2k40.html<br />
Twenty Twenty An exhibition by Kai Chan<br />
https://books.oceanpounds.com/2021/09/tt.html<br />
Shelley Savor<br />
Mushrooms and Clouds but no Mushroom<br />
Clouds<br />
https://books.oceanpounds.com/2022/09/mcmc.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 />
Twenty Twenty/ Kai Chan
Greenwood<br />
Kai Chan<br />
Hello Tomorrow<br />
66 x 7 2,5 cm, basal wood, bamboo, photo transfer
Poem a Week<br />
Gary Michael Dault<br />
Adjacent Flowers<br />
newly<br />
adjacent<br />
flowers<br />
your eye springing<br />
on their<br />
trampoline petals<br />
their colour<br />
swarms you<br />
like sudden<br />
tawny animals<br />
in a forest
ProTesT<br />
Cem Turgay
Caffeine Reveries<br />
Shelley Savor<br />
Year of the Water Rabbit <strong>2023</strong>
The Photograph<br />
coordinated by<br />
Kamelia Pezeshki<br />
Millcreek canyon by Kamelia Pezeshki
Open/Endedness<br />
bq 不 清<br />
去 年<br />
LAST YEAR<br />
一 點 也 沒 有 改 變 。 那 次 我 們 說<br />
再 見 的 時 候 , 依 舊 談 論 天 氣<br />
雨 芥 末 般 流 淚 , 帶 鹽 的 海<br />
早 已 像 魚 生 被 切 片 卻<br />
永 遠 無 法 分 離 ; 更 多 的 魚 在 內 做<br />
日 常 的 事 譬 如 表 演 獨 白<br />
而 一 個 個 氣 泡 升 往 水 面 上<br />
不 被 察 覺<br />
Nothing has changed. While we said<br />
Goodbye, as usual they talked about the weather.<br />
Rain teared like wasabi. The saline seas<br />
Were sliced into sashimis but they<br />
Couldn’t be separated entirely; more fish were inside<br />
Living their daily lives performing soliloquies<br />
As bubbles rose to the surface.<br />
But no one noticed.
TANGENTS<br />
Wilson Tsang<br />
Fabrication
Travelling Palm<br />
Snapshots<br />
Tamara Chatterjee<br />
India (December, 2016) – We arrived at<br />
the bedraggled palace, after a sunny drive<br />
through the dusty desert. The caretaker let<br />
into the decaying, Rajput era compound<br />
to explore the some areas of the derelict<br />
beauty. He guided around; with animated<br />
pantomime pointing out some of the more<br />
majestic details. We enjoyed a calm cup of tea,<br />
before a boisterous group of mini trespassers<br />
reanimated scenes of a nostalgic past.
https://oceanpounds.com<br />
New at Poetry section -<br />
New Look. More Content<br />
Private Ride: Ten Motorcycle Poems<br />
by Gary Michael Dault
CHEEZ<br />
Fiona Smyth
ART LOGBOOK<br />
Holly Lee<br />
In the Studio: Dayanita Singh’s New Conceptions of Photography<br />
https://www.artnews.com/art-in-america/features/dayanita-singh-in-studio-1234632625/<br />
Dayanita Singh: Dancing with my Camera<br />
https://www.exibartstreet.com/news/dayanita-singh-dancing-with-my-camera/
Leaving Taichung<br />
Station<br />
Bob Black<br />
Child<br />
“Let us try, if we can, to enter into death with open eyes...” - Marguerite Yourcenar<br />
A child set along a current of language adrift the leopard land<br />
see him beneath a river cloud unseemed and apart,<br />
a barron twitch seamless above the mirrored hope in a hoop of netting and his long-limbed<br />
frustration<br />
beside an overly-chatty stream hoaxed well,<br />
she understood that, the tackle and the tearing,<br />
all that he would become and what she would allow, forever<br />
the death in the trench a few decades from now nonetheless as his life laid distilling<br />
her holding-on breaking apart as their connection and chemistry rivered on--<br />
through his struggle and disappointment and imagining.<br />
Can you see this, the gravel and leaves and chapped skin warmly touched?<br />
This child that stood above the vein’d river and clawed at the cloud stiffening beneath his trickling<br />
feet atilt<br />
gawking at sparrows and glazed-green coke bottles as he, pick after pick after pick, pully’d against<br />
the water<br />
bringing to his mouth the cotton white in his paws, the back of his throat apricot pink<br />
the words she fed him crystalline with meaning, the conjugation still tasteless<br />
just damp and fecund and breezy<br />
each finger-prick point pushed the shape away and away and away,<br />
as a mid-sentence comma periscopes its button of pause and shrinking<br />
leaving behind the drum beat of a first syllable planted—<br />
the rest she was giving him up and that was all the mattered<br />
the gravel and leaves and chapped skin warmly touched.
This child spilling out his tiny frame into a new bone star<br />
deconstructing the land between him and her rearrangement fishing the chalking light<br />
still below the coppery leaf smudged by his size 2 boots, she goes wondering<br />
his skin, the pieces of the cumulus peeled together, a stitched sweater over his shoulders<br />
or the recoil from a too-concerned touch and transplanting<br />
skin the sky into shape and what lay just out of his reach<br />
the bone-beat a small click of the first piece of her undoing<br />
his heart tumbling away, the sound she would learn to abide and cadence--<br />
he was three and now she was learning<br />
the fist of loving for the first time, the gravel and leaves and chapped skin warmly touched.<br />
To set him to drift away, the delta long in its clouding and plowing<br />
the muck and thawed stones, the “wait up” echoed in the distant, immature thunder<br />
his tumbling through his struggle and disappointment and imagining, banging<br />
pully’d against the drought of her words as each finger pushes the shape of belief<br />
away and away and away,<br />
the impervious, the boreal, the forlorn light in the back of the heart’s chamber, valving<br />
the chalking light and what lay just out of his reach,<br />
what lay just outside her heart tumbling away<br />
a sound she once learned to abide and cadence<br />
and their chemistry rivered on, lives divesting, the fork in the meal of the road,<br />
this gravel and those leaves and that chapped skin reluctantly touched?<br />
This child<br />
a theatre of lines,<br />
a pavilion of shadows,<br />
a circus of dreams,,algebraic<br />
this child scampering over the line of red hills awkward in the distance and the seadarkening<br />
shapes of this world,<br />
the hum and the music, like a break over a bereft bone,<br />
grew into the shape of this, she knew when she brought him forth from between her legs,<br />
while the horizon receded and recovered in his leave-taking,<br />
the world was relentless and time was dismissive<br />
her heart plucked as she once imagined because there he went,<br />
his stories beckoning his body<br />
through his struggle and disappointment and imagining<br />
gone.<br />
this poem is dedicated to my son Dmia Black, my uncle Chester K Woodward, the poet<br />
Chi-wan Choi and my grandmother Elizabeth (Peggy) Woodward
From the Notebooks<br />
(2010-2022)<br />
Gary Michael Dault<br />
From the Notebooks, 2010--<strong>2023</strong><br />
Number 163: Flower Pistol (March 17, 2020)
Yau Leung 邱 良 (born in Hong<br />
Kong 1941-1997) one of the most<br />
significant and accomplished<br />
documentary photographers in the<br />
city. Working in a style inspired by<br />
Henri Cartier-Bresson and Robert<br />
Frank, he captured the very essence<br />
of the City through evocative images<br />
- its bustling streets, people and<br />
activities frozen in pivotal moments.<br />
Yau Leung worked as a photographer<br />
for studios in his earlier days, and<br />
later as editor for photography<br />
magazines, helping to promote the<br />
work of others. Through his busy life,<br />
Yau had not ceased to be an active<br />
photographer, he kept pursuing his<br />
lifelong project of documenting Hong<br />
Kong, until his accidental death in<br />
1997. His body of work, indisputably<br />
forms the most important and<br />
fascinating social documentary of<br />
people living in Hong Kong from the<br />
1960s to the 1990s. Yau has several<br />
monographs published: 60s/70s<br />
Image of Hong Kong (1992); 60s/90s<br />
Growing Up in Hong Kong (1994);<br />
Photo Hong Kong 1950s-1970s<br />
(1996); City Vibrance: Hong Kong<br />
1940s-1990s (1997); Images of Hong<br />
Kong 1960s-1970s (1999).<br />
Vintage photographs<br />
of Hong Kong<br />
by Yau Leung<br />
from the collection<br />
of Lee Ka-sing<br />
and Holly Lee
Hong Kong Festival (Statue Square, Hong Kong & Shanghai Bank, 1969)<br />
by Yau Leung<br />
Crowds turned out by the hundreds in the first Hong Kong Festival in 1969. Two more Hong<br />
Kong festivals were subsequently held, in 1971 and 1973.<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 2/100, signed on verso
Celebration (Wong Tai Sin Resettlement Estate, 1965)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
Edition 1/100, signed on verso
Blissful Downpour after a long drought (Castle Peak Road, Shamshuipo, 1963)<br />
by Yau Leung<br />
Hong Kong was hit by a severe drought in 1963-4, during which water supply was restricted to<br />
4 hours per 4 days. These boys were rapt to see the pouring rain and rushed to embrace the free<br />
shower.<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 1/100, signed on verso
Train Junction (Ma Liu Shui, 1963)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
signed on verso
Smiling Faces (Rooftop school, Wong Tai Sin, 1965)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 1/100, signed on verso
Car Park (1963)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
signed and titled on verso
Two Women (Gloucester Road, 1961)<br />
by Yau Leung<br />
Taken on Gloucester Road, Wanchai, an area in the red light district bristling with bars and restaurants<br />
frequented by expatriates and seamen in the U.S. navy.<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Edition, edition 16/20, signed on verso
King Kong (Shaw Movie Town, 1974)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Edition, edition 12/20, signed on verso
The Bank of China Building (1963)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 1/100, signed on verso
The Hong Kong Bank Building (1963)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 1/100, signed on verso
Des Voeux Road Central, near Western Market (1964)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 1/100, signed on verso
Tramway (Hennessy Road, Wan Chai 1963)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 1/100, signed on verso
Connaught Road Central (1964)<br />
by Yau Leung<br />
8x10 inch, gelatin siver photograph printed in the nineties<br />
OP Selection, edition 1/100, signed on verso
Private Cars and Public Bus (Castle Peak Road, 1963)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 1/100, signed on verso
Memorial Day Ceremony (Central 1968)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 1/100, signed on verso
Harbour View of Victoria Peak, left (60s)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 4/100, signed on verso
Harbour View of Victoria Peak, right (60s)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 1/100, signed on verso
Say Cheese! (Wan Chai 1966)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 1/100, signed on verso
Classic automobile 171 (Shaw Movie town 1971)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 1/100, signed on verso
Fishermen’s Squatters in Cheung Chau (1961)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 1/100, signed on verso
Chinese Maid in Central Market (1963)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 8/100, signed on verso
On The Road with a Lantern (Thompson Road 1961)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 1/100, signed on verso
Sidewalk Photo Service (1963)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Selection, edition 4/100, signed on verso
Snatching the Crackers in Bun Festival (Cheung Chau 1966)<br />
by Yau Leung<br />
8x10 inch, gelatin silver photograph printed in the nineties<br />
OP Edition, edition 05/20, signed on verso
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