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<strong>MONDAY</strong><br />
<strong>ARTPOST</strong><br />
<strong>2023</strong>-<strong>0605</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 / Lee Ka-sing / Shelley<br />
Savor / Tamara Chatterjee /<br />
Tomio Nitto / Wilson Tsang /<br />
+ OP Edition: Leung Chi Wo<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
Starts from this week, read your<br />
<strong>MONDAY</strong> <strong>ARTPOST</strong> at this new address:<br />
m.oceanpounds.com<br />
Get new issue notifications, follow us on<br />
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ReAttendance Of Space<br />
an exhibition by Bill Grigsby<br />
Passionate engagement and spatial relationship incidentally<br />
arranged with more left turns than a doorknob! Words and pictures<br />
to look at. “An Allegory of The Spiritual Adventure of The Full Conscious<br />
Person Into Modern Life“ Tennesse Williams, Dec 4, 1949<br />
50 Gladstone Avenue artsalon in Toronto<br />
On view from May 27 to June 17, <strong>2023</strong><br />
visit by appointment (mail@oceanpounds.com)
Hong Kong Memories<br />
a suite of vintage inkjet prints<br />
an exhibition by Holly Lee<br />
June 24 to July 29, <strong>2023</strong><br />
50 Gladstone Avenue artsalon<br />
visit by appointment<br />
mail@oceanpounds.com
Leung Chi Wo<br />
Untitled<br />
8x10 inch, Gelatin Silver Print<br />
Number 19/20, OP Edition<br />
Signed and numbered on verso<br />
As the practice of collecting photographs picked up<br />
steam by 1994, the push motivated us to establish<br />
a system for people to interact, exchange, acquire<br />
and collect photographs. We set up The Original<br />
Photograph Club that year and created a print program<br />
called the OP Print Program. Ka-sing and I co-curated<br />
the project and attended all administrative and<br />
organizing work. It would be a quarterly program, each<br />
quarter of the year would feature ten photographers’<br />
work. All participants would be required to contribute<br />
an image with 20 editions, printed in the size of 8 by<br />
10 inches. These prints we referred to as OP Editions.<br />
DISLOCATION 1992-1999, and Beyond. [The OP Print Program<br />
and OP Editions, 1994-1999], Holly Lee
Poem a Week<br />
Gary Michael Dault<br />
Cushions or Luxury’s End<br />
cushions<br />
under our thighs<br />
conduits<br />
at our feet<br />
necklaces<br />
of bone and grind<br />
of sour skin and spiky rind<br />
sneezing<br />
at our neighbors<br />
dancing<br />
on the heat<br />
bracelets<br />
made of earth and seed<br />
ringlets of erotic need<br />
lying in the street
Diptych Diary<br />
Lee Ka-sing
Caffeine Reveries<br />
Shelley Savor<br />
City Storm Guardian<br />
Shelley Savor’s work and book at OCEAN POUNDS<br />
oceanpounds.com/collections/Shelley-Savor
Leaving Taichung<br />
Station<br />
Bob Black<br />
阿 飛 正 傳<br />
1989 — <strong>2023</strong><br />
In April of 1989, I was living in Providence, Rhode Island and working as a speech writer. I was<br />
23 and the world was abloom where everything seemed possible, the books to read, the poems and<br />
stories to write, the lips to kiss, the stories to swallow, the lives to enter and the places to go. At 23,<br />
everything was infinite and possible, everything but death.<br />
I had moved to Providence to support my youngest brother financially after having enrolled in the<br />
Rhode Island School of Design to study painting. At the time, I had fallen in love with a painter from<br />
Korea whose stories about her relationship with her high school English teacher drew me into a world<br />
I could not have imagined at the time and though my own life had been an interesting and peripatetic<br />
one, I yearned for the world away from the usa.<br />
1988 had been a tinderbox for flight: I’d watched with my brother the Korean Olympics in October<br />
and hungered for Asia, not having been back to Taiwan or Hong Kong since I was a kid; I started rereading<br />
everything by 北 島 whose poetry I had fallen in love with in university and whom I had met.<br />
I knew he’d return to China with his wife and daughter and that he had worked on a petition calling<br />
for the release of pro-democracy activists like Wei Jingsheng.<br />
I also lost my heart to Gong Li in Red Sorghum and then watched one Chinese film after another:<br />
Yellow Earth, King of the Children, The Horse Thief and others and I realized I had to go to China<br />
and so I applied to teach English in Beijing and was accepted and started to plan to leave Providence<br />
and my job as a speech writer and re-learn Mandarin and then came May, my birthday, and then the<br />
天 安 門 廣 場 的 絕 食 四 君 子 (Tiananmen Four Gentlemen Hunger Strike) and then like so many of<br />
us watched on CNN the horror that was unfolding in front of us and my heart sank and my life was<br />
turned upside down.<br />
Death and destruction had come. Spring was gone.<br />
The tanks and the brave man who stood in front of them risked everything and the world changed and<br />
thousands of lives were lost and China and the people were never the same again.
My appointment was rescinded and I stayed in Providence as history fell apart: first China…and then<br />
the Caribbean and then Poland and Czechoslovakia and then Berlin…and history began to fall, brick<br />
by brick and all but in China, it seemed as if the urgency of democracy and human rights were at the<br />
fore and a year later I left for Prague to teach English to students who were older than I was, some of<br />
whom hadn’t celebrated birthdays or anniversaries since the Prague Spring in 1968 and I forgot about<br />
China and turned toward life in Eastern Europe…and then to Hong Kong and I started to write the<br />
poems that would make up my first book.<br />
I later burned them after the death of a dear friend from Hong Kong.<br />
Now, this June 4th, <strong>2023</strong>, 34 years later, I am a different man, a different writer and China is a<br />
different nation in so many ways and so much the same in others: the heart of the Chinese people for<br />
life without oppression still writes poems on the walls and the government still oppresses and jails<br />
her citizens and nothing we have done seems to have rid the men in charge and every night before<br />
and through the night I hold a vigil of sorts: a few times in Hong Kong, once in Taipei, several times<br />
in Toronto and New York and tonight, once again.<br />
This year instead of a candle, I danced: to feel my body ache with sweat and music, to free my head<br />
from the hurt that comes every June, feed memory with heartbeat and in solidarity with those still<br />
struggling<br />
wrote poems with my body instead in a darkened room, spoke with gestures in the air through the late<br />
night with my partner, a woman from Taiwan, as we swayed beneath the red lights and the ephemeral<br />
and for a few hours, there was nothing but music and love and embodied sound and the night for<br />
once seemed infinite and we moved into the light from the shadows and there was life and there was<br />
cadence and language was replaced by unthinking and we knew again one day there would be bliss<br />
and we all would be free.<br />
阿 飛 正 傳<br />
our days of being wild, again.<br />
this reflection was first published on June 4th in Cha Asian journal. my gratitude to the editors
TANGENTS<br />
Wilson Tsang<br />
The Joke
CHEEZ<br />
Fiona Smyth<br />
Fiona Smyth’s work and book at OCEAN POUNDS<br />
oceanpounds.com/collections/fiona-smyth
Sketchbook<br />
Tomio Nitto
The Photograph<br />
coordinated by<br />
Kamelia Pezeshki<br />
Old garden rose by Kamelia Pezeshki
ART LOGBOOK<br />
Holly Lee<br />
An intimate glimpse at North America’s Eastern Hellbender, an ancient salamander that<br />
lives as much in myth as in reality.... and in many waters, myths are all that remain of<br />
these sentinel stream-dwellers. Image from Freshwaters Illustrated. Photographer David<br />
Herasimtschuk<br />
https://www.davidherasimtschuk.com/hellbenders<br />
(Use arrow to navigate. Roll over to the lower left for picture captions)
Open/Endedness<br />
bq 不 清<br />
粽 子<br />
有 一 點 是 肯 定 的 , 雨<br />
落 地 之 後 便 失 去 了 其 意 義<br />
他 們 的 焦 點 將 從 完 成 式<br />
回 到 現 在 直 到 黑 雲 完 全 散 去<br />
可 是 又 有 誰 真 正 目 睹 雲 朵<br />
因 為 雨 盡 而 徹 底 消 失 ?<br />
我 正 想 起 一 座 只 發 單 音 不 能<br />
奏 出 孤 獨 感 的 鋼 琴<br />
這 裡 有 好 多 黑 鍵<br />
或 高 或 低 但 又 永 遠 凸 出 來<br />
令 初 學 者 不 知 所 措 之 餘<br />
又 同 時 使 人 好 奇<br />
就 像 春 天 於 北 極<br />
在 漫 長 的 光 明 中 寒 冷 著<br />
而 我 們 不 需 要 聖 誕 節<br />
也 能 誦 唱 一 曲 平 安 夜 了
STICKY RICE DUMPLINGS<br />
One thing is sure. Raindrops<br />
Lose their meanings after they land on the ground.<br />
Their focus is back to the present from the finished<br />
State until all dark clouds have fully dispersed.<br />
But who has witnessed the disappearance of<br />
Clouds at the end of a storm really?<br />
I am thinking of a piano that only produces a single note<br />
And thus cannot perform the notion of loneliness.<br />
Lots of black keys are here,<br />
Highs and lows, and always protruding,<br />
Making beginners uncomfortable but<br />
at the same time curious about the situation.<br />
A situation like spring in the North Pole.<br />
It’s cold under this lengthening brightness.<br />
And we don’t need Christmas<br />
to be singing Silent Night.
Travelling Palm<br />
Snapshots<br />
Tamara Chatterjee<br />
France (March, 2022) – A little creepy, a<br />
little eerie and out of the normal comfort<br />
zone, the Natural History museum and its<br />
famed collection of bones is a marvel to<br />
explore. The galleries have glass windows<br />
which allow a luminous light to magnify some<br />
rather haunting skeletal shadows. Entry into<br />
mammalia begins with human anatomy and<br />
ends in dramatic fashion with a blue whale<br />
carcass. My favorite section though is the glass<br />
ceiling gallery, and its skeleton collection of<br />
monstrous beasts and outrageous fossils.
TERRAIN the collaboration project,<br />
Gary Michael Dault writes haiku as a<br />
response on Lee Ka-sing’s photograph.<br />
It was originally started in 2022, and<br />
was picked up again in April <strong>2023</strong>,<br />
and published at oceanpounds.com<br />
as a daily updated column.<br />
Included in this volume are the first fifty pairs.<br />
Ka-sing’s photographs were<br />
taken in between 2021 to <strong>2023</strong>.<br />
TERRAIN, one<br />
by Lee Ka-sing and Gary Michael Dault<br />
116 pages, 8x10 inch, available in hardcover and ebook editions<br />
View complimentary copy in full version:<br />
https://books.leekasing.com/<strong>2023</strong>/05/t1.html
ProTesT<br />
Cem Turgay
From the Notebooks<br />
(2010-<strong>2023</strong>)<br />
Gary Michael Dault<br />
From the Notebooks, 2010-<strong>2023</strong><br />
Number 181: Der Rosenkavalier (The Metal Flower), March 24,<br />
2014.<br />
Gary Michael Dault’s work and books at OCEAN POUNDS<br />
oceanpounds.com/collections/gary-michael-dault
Greenwood<br />
Kai Chan<br />
Drawing<br />
ink on tracing paper<br />
Kai Chan’s work and books at OCEAN POUNDS<br />
oceanpounds.com/collections/kai-chan
DIGI (1994-1996) is an extension to the last issue “DISLOCATION<br />
1992-1999, and Beyond”.<br />
DIGI zine was a side-track in the course of our publishing venture.<br />
It was attached to the PHOTOART, in the last section as part of<br />
the contents. An additional print-run of 500 copies was printed<br />
as an independent publication–in the exact manner as we did for<br />
DISLOCATION in PHOTO PICTORIAL. In total, thirteen issues of<br />
DIGI were published from 1994 to 1995, with the last issue coming<br />
out in 1996.<br />
In this issue of DOUBLE DOUBLE, we reproduced the thirteen<br />
issues of DIGI zine as a complete volume facsimile edition.<br />
The original DIGI zine is in the format of 8.5x11 inch, 16 pages.<br />
Each issue had a 500 print-runs.<br />
DOUBLE DOUBLE April/ May edition <strong>2023</strong><br />
DIGI (1994-1996)<br />
232 pages, 8x10 inch, ebook and paperback editions<br />
Read-on-line edition for PATREON members<br />
https://reads.oceanpounds.com/<strong>2023</strong>/05/digi.html
DOUBLE DOUBLE February/ March edition <strong>2023</strong><br />
女 那 禾 多 DISLOCATION (1992-1999), and Beyond<br />
340 pages, 8x10 inch, ebook and hardcover editions<br />
Hardcover edition available at Blurb (CAD$125)<br />
https://www.blurb.ca/b/11543683-dislocation-1992-1999-and-beyond<br />
ebook edition (PDF download, US$10)<br />
https://oceanpounds.com/products/dislocation<br />
Read online the complimentary copy in full version<br />
https://books.leekasing.com/1992/01/dislocation.html<br />
THE LIFE OF A PUBLICATION, written by Holly Lee<br />
(the main article in 21 segments)<br />
• It began with Lee Ka-sing’s two photo columns in the mid-eighties<br />
• Seeded by a studio promotional publication: WORKS MAGAZINE (1988-89)<br />
• And it began, with a transparent and translucent journey (NûNaHéDuo ZERO and GLASS issues)<br />
• The first year<br />
• NûNaHéDuo 1992-1995. 48 issues, 4 annuals and an index issue<br />
• Fair Deal. A playground at the backyard<br />
• Free-wheeling and Seeding<br />
• The OP Print Program and OP Editions (1994-1999)<br />
• The second stage (1996-1998), a new format<br />
• The idea of Three: Beijing, Hong Kong and Taiwan<br />
• DIGI zine, a side track<br />
• OP fotogallery and NCP–the NûNaHéDuo Centre of Photography<br />
• A tale of the other city, the OP fotogallery in Toronto (2000-2005)<br />
• Closing of the second stage of NNHD 1999<br />
• This side towards lens, FOTO POST and ebooks<br />
• DISLOCATION as an ebook, Volume 14<br />
• Landscape in flux. The Missing Volume 15, Geography issue<br />
• The Second Life of DISLOCATION<br />
• Recapturing time<br />
• Thirty years<br />
• The Unfinished. Hong Kong Streets issue
Leads to the Books published<br />
by OCEAN POUNDS<br />
The Air is like a Butterfly<br />
https://books.oceanpounds.com/2021/07/tab.html<br />
<strong>ARTPOST</strong> contributors<br />
Cem Turgay lives and works as a photographer in<br />
Turkey.<br />
DISLOCATION (1992-1999), and Beyond<br />
books.oceanpounds.com/<strong>2023</strong>/04/dislocation.html<br />
Poetic Liaison<br />
books.oceanpounds.com/<strong>2023</strong>/02/poetic-liaison.html<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 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 />
Still Life Still A Book of Vessels<br />
https://books.oceanpounds.com/2022/09/bv.html<br />
The Book of The Poem<br />
https://books.oceanpounds.com/2022/08/bp.html<br />
The Nearby Faraway Small Paintings on Cardboard<br />
https://books.oceanpounds.com/2022/09/small-paintings-on-cardboard.html<br />
DOUBLE DOUBLE Box in a Valise a close-cropped<br />
https://books.oceanpounds.com/2020/05/ddb-cc.html<br />
DOUBLE DOUBLE Box in a Valise on-site<br />
https://books.oceanpounds.com/2020/05/ddb-os.html<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 />
Fiona Smyth is a painter, illustrator, cartoonist and<br />
instructor in OCAD University's Illustration Program.<br />
For more than three decades, Smyth has made a name<br />
for herself in the local Toronto comic scene as well as<br />
internationally.<br />
http://fiona-smyth.blogspot.com<br />
Gary Michael Dault lives in Canada and is noted for<br />
his art critics and writings. He paints and writes poetry<br />
extensively. In 2022, OCEAN POUNDS published two<br />
of his art notebooks in facsimile editions.<br />
Holly Lee lives in Toronto, where she continues to<br />
produce visual and literal work.<br />
en.wikipedia.org/wiki/Holly_Lee<br />
Kai Chan immigrated to Canada from Hong Kong in<br />
the sixties. He’s a notable multi-disciplinary artist who<br />
has exhibited widely in Canada and abroad.<br />
www.kaichan.art<br />
Kamelia Pezeshki is a photographer living in Toronto.<br />
She continues to use film and alternative processes to<br />
make photographs.<br />
www.kamelia-pezeshki.com<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 />
ana 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.htm<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 />
Nine-Years<br />
https://books.oceanpounds.com/2020/02/ny.html<br />
Istanbul Postcards<br />
https://books.oceanpounds.com/2021/07/ip.html<br />
Calendar Beauty Vintage Calendar posters from<br />
China<br />
https://books.oceanpounds.com/2020/03/cb.html<br />
Libby Hague Watercolours<br />
https://books.oceanpounds.com/2022/11/lhw.html<br />
The Diary of Wonders<br />
https://books.oceanpounds.com/2021/10/dw.html<br />
CHEEZ 456<br />
https://books.oceanpounds.com/2022/05/c456.html<br />
Mushrooms and Clouds but no Mushroom Clouds<br />
https://books.oceanpounds.com/2022/09/mcmc.html<br />
CODA<br />
https://books.oceanpounds.com/2022/12/coda.html<br />
Diary of a Sunflower, Book Two<br />
https://books.oceanpounds.com/2022/12/ds.html<br />
Eighty Two Photographs<br />
https://books.oceanpounds.com/2021/10/82p.html<br />
Time Machine<br />
https://books.oceanpounds.com/2021/12/tm.html<br />
Songs from the Acid-free Paper Box<br />
https://books.oceanpounds.com/2022/10/sa.html<br />
Songs from the Acid-free Paper Box<br />
Museum edition<br />
https://books.oceanpounds.com/2022/10/sab.html<br />
“That Afternoon” on Mubi, a dialogue: Tsai Ming<br />
Liang and Lee Kang-Sheng<br />
https://books.oceanpounds.com/2022/11/ta.html<br />
The Travelogue of a Bitter Melon<br />
https://books.oceanpounds.com/2022/11/tbm.html<br />
Swan House<br />
https://books.oceanpounds.com/2022/12/swanhouse.html<br />
“Journeys of Leung Ping Kwan”<br />
http://books.oceanpounds.com/<strong>2023</strong>/01/pk.html<br />
Ken Lee is a poet and an architectural designer based<br />
in Toronto. He has been composing poetry in Chinese,<br />
and is only recently starting to experiment with writing<br />
English poetry under the pen name, “bq”.<br />
Lee Ka-sing, founder of OCEAN POUNDS, lives in<br />
Toronto. He writes with images, recent work mostly<br />
photographs in sequence, some of them were presented<br />
in the format of a book.<br />
www.leekasing.com<br />
Robert Black, born in California, is an award-winning<br />
poet and photographer currently based in Toronto.<br />
His work often deals with themes related to language,<br />
transformation, and disappearance.<br />
Shelley Savor lives in Toronto. She paints and draws<br />
with passion, focusing her theme on city life and urban<br />
living experiences.<br />
Tamara Chatterjee is a Toronto photographer who<br />
travels extensively to many parts of the world.<br />
Wilson Tsang is both a visual artist and a musician<br />
from Hong Kong. To date, he has published two art<br />
books for children and four indie music albums.<br />
Yam Lau, born in British Hong Kong, is an artist and<br />
writer based in Toronto; he is currently an Associate<br />
Professor at York University. Lau’s creative work<br />
explores new expressions and qualities of space,<br />
time and the image. He is represented by Christie<br />
Contemporary.
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 />
48 Gladstone Avenue, Toronto<br />
Booking:<br />
mail@indexgbb.com<br />
416.535.6957