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<strong>MONDAY</strong><br />
<strong>ARTPOST</strong><br />
<strong>2023</strong>-<strong>1127</strong><br />
ISSN1918-6991<br />
<strong>MONDAY</strong><strong>ARTPOST</strong>.COM<br />
Columns by Artists and Writers<br />
Bob Black / bq / Cem Turgay / Fiona<br />
Smyth / Gary Michael Dault / Holly<br />
Lee / Kai Chan / Kamelia Pezeshki<br />
/ Lee Ka-sing / Malgorzata Wolak<br />
Dault / Sarah Teitel / Shelley Savor<br />
/ Tamara Chatterjee / Tomio Nitto /<br />
Yam Lau + OP Edition: Hiromi Hoshino 星 野 博 美 /<br />
“That Afternoon” on Mubi, a dialogue: Tsai Ming-liang<br />
and Lee Kang-sheng (Lee Ka-sing)<br />
<strong>MONDAY</strong> <strong>ARTPOST</strong> published on Mondays. Columns by Artists and Writers. All Right Reserved. Published since 2002.<br />
Edit and Design: DOUBLE DOUBLE studio. Publisher: Ocean and Pounds. ISSN 1918-6991. mail@oceanpounds.com<br />
Subscription and Support: https://patreon.com/doubledoublestudio
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<strong>MONDAY</strong> <strong>ARTPOST</strong><br />
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https://mondayartpost.substack.com<br />
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<strong>ARTPOST</strong> contributors<br />
Cem Turgay lives and works as a photographer in<br />
Turkey.<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 />
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 />
Sarah Teitel is a multidisciplinary artist living in<br />
Toronto. She writes poems, songs and prose; draws,<br />
sings and plays instruments.<br />
sarahteitel1.bandcamp.com/album/give-and-take<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 />
Tomio Nitto is a noted illustrator lives in Toronto. The<br />
sketchbook is the camera, he said.<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.
OP Edition (an archive)<br />
Hiromi Hoshino<br />
Untitled<br />
8x10 inch, c-type photograph<br />
Number 1/20, 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<br />
program called the OP Print Program. Ka-sing and I<br />
co-curated the project and attended all administrative<br />
and organizing work. It would be a quarterly<br />
program, each quarter of the year would feature ten<br />
photographers’ work. All participants would be required<br />
to contribute an image with 20 editions, printed in the<br />
size of 8 by 10 inches. These prints we referred to as OP<br />
Editions.<br />
(DISLOCATION 1992-1999, and Beyond [The OP Print<br />
Program and OP Editions, 1994-1999], Holly Lee)
星 野 博 美 Hiromi Hoshino<br />
女 那 禾 多 復 刊 號 其 中 有 一 張 照 片 最<br />
為 人 所 談 論 : 兩 隻 白 色 母 雞 站 山 邊<br />
活 像 兩 個 正 在 談 話 的 人 。 攝 影 師 星<br />
野 博 美 想 香 港 的 攝 影 圈 人 都 不 會 太<br />
陌 生 了 ,1997 女 那 禾 多 的 發 表 了<br />
十 個 旅 港 或 居 港 的 外 藉 人 , 博 美 便<br />
是 其 一 。1997 年 她 在 藝 穗 會 的 畫<br />
廊 展 出 < 華 南 體 感 >( 她 一 本 同 名 的<br />
攝 影 集 , 情 報 中 心 出 版 局 ,1996)<br />
, 上 面 提 的 白 色 母 雞 照 片 便 是 屬<br />
於 這 組 作 品 。 展 覽 的 時 候 , 橋 口<br />
讓 二 也 來 了 香 港 ,( 橋 口 先 生 是<br />
日 本 著 名 的 肖 像 攝 影 師 , 博 美 曾<br />
是 他 的 工 作 室 助 理 )。 我 離 開 香 港<br />
後 , 博 美 在 藝 穗 會 開 過 另 一 個 攝 影<br />
展 :< 香 港 花 > ( 攝 影 集 由 平 凡 社<br />
出 版 ,2000)。 她 在 攝 影 集 的 扉 頁<br />
寫 著 :“ 不 要 到 世 界 任 何 地 方 , 只<br />
想 在 這 個 城 市 尋 找 幸 福 。” 她 拍 攝<br />
香 港 很 不 如 香 港 的 攝 影 師 , 不 消 說<br />
那 濃 烈 堅 實 的 色 彩 , 她 的 人 物 無 論<br />
老 年 少 年 都 是 滿 懷 著 希 望 。 她 照 片<br />
的 色 彩 不 是 我 在 香 港 時 候 常 常 見 到<br />
的 彩 度 , 物 景 幽 祕 又 令 你 有 如 致 身<br />
異 域 。 她 在 < 香 港 花 > 的 最 後 一 頁<br />
寫 著 :“ 發 財 夢 碎 了 , 孩 子 倒 養 大<br />
了 。 這 還 算 幸 福 的 。” 星 野 博 美 的<br />
香 港 明 顯 與 一 些 外 藉 攝 影 師 的 遊 客<br />
景 觀 不 同 , 她 有 她 的 作 為 一 個 局 外<br />
人 的 視 點 , 令 你 珍 惜 的 是 她 深 入 了<br />
而 再 誘 發 出 來 的 感 覺 。 幾 年 前 在 東<br />
京 逛 書 局 , 無 意 間 在 書 架 上 看 到 她<br />
一 冊 剛 獲 獎 的 文 集 :< 滾 石 香 港 不<br />
生 苔 >( 情 報 中 心 出 版 局 ,2000)。<br />
博 美 的 文 字 背 景 也 許 可 以 為 她 的 影<br />
像 營 養 下 一 個 註 腳 。 今 年 6 月 在 我<br />
的 畫 廊 為 她 的<br />
< 華 南 體 感 > 做 了 一 個 個 展 , 她 也<br />
來 了 多 倫 多 數 日 。 當 時 有 幾 個 人 向<br />
我 盛 讚 過 博 美 文 字 , 只 消 幾 個 小 段<br />
的 翻 譯 便 散 發 出 那 般 的 魅 力 。<br />
女 那 禾 多 記 ( 李 家 昇 2010)
Gary Michael Dault<br />
From the Photographs,<br />
2010-<strong>2023</strong><br />
Number 5: Four Illuminated Pages<br />
1) Page One 2) Page Two
3) Page Three 4) Page Four
Poem<br />
Holly Lee<br />
nine canisters<br />
nine canisters lined up for a portrait shot<br />
long time life-giving carriers, rusted, graffitied, painted<br />
over multi-time, aligned themselves like a platoon squad<br />
skin bruised and broken, muted blue and green<br />
smooth black wounds and scratches<br />
resplendent, dignified<br />
stout without a doubt<br />
who would have questioned<br />
they are now men’s best friends<br />
even men’s once best friends are not spared<br />
too many strays among the ruins<br />
wandering, looking for remnants<br />
pieces of self-history, scattered<br />
amid tumbling houses and rubbles<br />
to re-build yesterday’s dream<br />
when conveniences are unobtainable<br />
women mould taboons by hands<br />
out of clay, animal dung and straw<br />
where food is cooked water is boiled<br />
none of these need fuel, gas or electricity<br />
the sun comes out fine today<br />
in a wood-fired clay oven<br />
breads taste richer and better<br />
cups of hot coffee and hot tea<br />
old Imm Jamil, the oven-maker, smilingly says<br />
destruction and prohibition<br />
bring nineteenth century back<br />
donkeys, horses, mules assisting<br />
carrying people and their few belongings<br />
fleeing this way and that<br />
to the majorities displaced<br />
home is just a mobile bed<br />
on his bicycle-driven cart<br />
rests Idrak Awad, bending both knees<br />
fitting into his four-feet makeshift lodging<br />
questions and disputes<br />
the existence of righteousness<br />
inconvincible<br />
his skeptical eyes<br />
squint hard into the afternoon sun
Open/Endedness<br />
bq 不 清<br />
〈 未 命 名 詩 節 〉 之 二<br />
而 我 們 稱 之 為 閏 年 。 對 於 那 些 需 要<br />
向 別 人 証 明 自 己 的 人 來 說 , 閏 年<br />
給 予 額 外 的 工 作 天 , 可 以 被 看 成 一 種<br />
衷 心 的 獎 勵 。 正 如 普 羅 科 基 耶 夫 初 次 讓<br />
奧 伊 斯 特 拉 赫 看 他 撰 寫 的 小 提 琴 協 奏 曲 , 他<br />
告 訴 小 提 琴 家 「 演 奏 時 , 嘗 試<br />
懷 著 一 顆 說 服 別 人 的 心 。」<br />
演 奏 時 , 嘗 試 懷 著 一 顆 說 服<br />
別 人 的 心 , 但 是 , 千 萬 不 要 讓 別 人<br />
把 咳 嗽 與 噴 嚏 插 進 你 的 音 樂 。 如 你 所 知 道<br />
傷 寒 季 節 已 經 到 來 , 一 座 座 樹 葉 之 城<br />
終 於 失 陷 , 成 為 遊 客 的 廢 墟 與<br />
陷 阱 。 一 如 我 們 所 預 料 : 新 的 開 始<br />
就 這 樣 結 束 , 如 此 的 短 命 。<br />
新 的 開 始 就 這 樣 結 束 , 如 此 的<br />
短 命 , 但 一 定 令 人 眼 前 一 亮<br />
天 空 似 乎 更 藍 了 , 所 有 蜉 蝣<br />
都 已 斷 氣 和 因 變 灰 而 隱 沒 如 時 間<br />
炭 精 條 的 發 明 只 是<br />
為 了 繁 衍 後 代 之 後 永 遠 消 失<br />
而 瞬 間 是 它 所 留 下 的<br />
而 瞬 間 是 它 所 留 下 的<br />
它 為 畫 布 注 入 生 命 如 謊 言 促 進<br />
一 宗 刑 事 案 件 。 我 真 的 在 場 嗎 ?<br />
樹 底 的 影 子 和 蕨 葉<br />
真 的 見 證 了 四 散 的 草 根 嗎 ?<br />
雪 季 即 將 來 臨 , 我 們 是 知 道 的 ——<br />
這 首 詩 取 材 於 真 實 的 故 事
UNTITLED STANZA 5-8<br />
And we call it a leap year, which comes<br />
With an extra work day, a heartfelt reward,<br />
For those who have something<br />
To prove. It’s like when Prokokiev first showed<br />
Oistrakh his violin concerto, the composer<br />
Encouraged the violinist, “play it as though<br />
You are trying to convince someone.”<br />
Play it as though you are trying to convince<br />
Someone, but hey, never let no one interject<br />
Your song with coughs and sneezes. It’s<br />
Flu season, as we know it, where cities of leaves<br />
Finally fall and become touristic ruins and<br />
Traps. We have always predicted this: the end<br />
Of the new beginning, which is short-lived.<br />
The end of the new beginning, which is<br />
Short-lived, but is sure to turn heads.<br />
The sky seems to be bluer now that all the mayflies<br />
Have expired and greyed out. Like time,<br />
Charcoal sticks are created only<br />
To procreate and vanish forever,<br />
And a moment in time is what’s left of it.<br />
And a moment in time is what’s left of it.<br />
It invigorated a canvas like lies that motivate<br />
A criminal case. Was I really there?<br />
Could the shadows and fronds under the trees<br />
Really be witnessing the wide-spreading grassroots?<br />
Snow season is coming, we know—<br />
This poem is based on a true story.
Lee Ka-sing OPUS Archive<br />
(2003) Five Senses (Opp.1)<br />
https://opus.leekasing.com/2003/01/opus1.html<br />
(1992-1994) Photographs for DISLOCATION cover (Opp.2)<br />
https://opus.leekasing.com/1992/01/opus2.html<br />
(2009-2013) Z FICTION (Opp.3)<br />
https://opus.leekasing.com/2009/01/opus3.html<br />
(2011-2013) Z 話 本 (Opp.4)<br />
https://opus.leekasing.com/2011/01/opus4.html<br />
(1988) Hello Hong Kong (Op.5)<br />
https://opus.leekasing.com/1988/01/opus5.html<br />
(<strong>2023</strong>) fly-in-love 飛 天 情 書 (Op.7)<br />
https://opus.leekasing.com/<strong>2023</strong>/01/opus7.html<br />
(2012) The Psychological Journey while Taking a Colour Photograph of a Dinosaur (Op.8)<br />
https://opus.leekasing.com/2012/01/opus8.html<br />
(2015) MOVIOLA (Op.9)<br />
https://opus.leekasing.com/2015/01/opus9.html<br />
(2020) CODA (Op.11)<br />
https://opus.leekasing.com/2020/01/opus11.html<br />
(2022) Diary of a Sunflower Book Two (Op.12)<br />
https://opus.leekasing.com/2022/01/opus12.html
OPUS Archive<br />
Lee Ka-sing<br />
“That Afternoon” on Mubi, a dialogue: Tsai Ming-liang<br />
and Lee Kang-sheng (Mubi 頻 道 看 蔡 明 亮 那 日 下 午 ,<br />
對 談 李 康 生 ) is a visual poem presented in sixteen sequential<br />
photographs. The original work is in book format, measuring<br />
8×10 inches (200mm ×250mm) across 36 pages.<br />
Lee Ka-sing OPUS Archive<br />
“That Afternoon” on Mubi, a dialogue: Tsai Ming-liang<br />
and Lee Kang-sheng (Op.13)<br />
在 Mubi 頻 道 看 蔡 明 亮 那 日 下 午 , 對 談 李 康 生<br />
Relationships are like a semi-transparent lantern. You wish<br />
to see the candlelight inside, but it’s just a shifting illusion.<br />
One afternoon, I happened to watch a film by Tsai Ming-liang<br />
on the Mubi channel. It featured a long conversation between<br />
him and his regular actor, Lee Kang-sheng. This in-depth<br />
discussion about relationships felt like observing the movement<br />
of light points inside a lantern from outside a glass tank, in<br />
a fixed position. It employs a language with clarity, yet it floats<br />
in another parallel dimension of time. This is also the reason<br />
why I enjoy doing photography work.<br />
View full version of this work at OPUS Archive (Op.13)<br />
https://opus.leekasing.com/2022/12/opus13.html<br />
“That Afternoon”on<br />
Mubi, a dialogue:<br />
Tsai Ming-liang and<br />
Lee Kang-sheng<br />
(2022) Op.13
View full version of this work at OPUS Archive (Op.13)<br />
https://opus.leekasing.com/2022/12/opus13.html
Thinking Party<br />
Sarah Teitel<br />
Intervention<br />
A nub erupts from the base of the orchid.<br />
First it is a blister, then it is a bullet<br />
then it is a stem and bud<br />
close-matched in size<br />
to the stick and bulb<br />
of a match.<br />
The amputated leaf<br />
in my hand<br />
swoops to compliment<br />
the curve of my hand.<br />
I press my flesh<br />
into the outer edge of the leaf<br />
which is sharp<br />
as a dull blade.<br />
I think I could draw blood<br />
if I wanted to.<br />
A low leaf limits the new growth<br />
which grows<br />
to accommodate the squeeze.<br />
The stem crooks<br />
and bows to the mulch.<br />
The bud kisses a shard of bark.<br />
I go in as surgeon<br />
with the shears<br />
and sever the leaf at its root.<br />
The stem does not decontort.<br />
Time will see it shrivel.
The Photograph<br />
Selected by<br />
Kamelia Pezeshki<br />
Green Hydrangea by Kamelia Pezeshki
Travelling Palm<br />
Snapshots<br />
Tamara Chatterjee<br />
France (September, 2014) – We spent a nice<br />
part of the afternoon rambling around the<br />
Jardin des Plantes, including exploration<br />
inside several of the glorious galleries. The<br />
light cast through the ornate staircase railing<br />
was my little moment of mental repose,<br />
while my mind attempted to digest the<br />
paleontological and comparative anatomical<br />
wonders I had just encountered.
Poem a Week<br />
Gary Michael Dault<br />
Lines After Yiannis Ritsos<br />
a river flows<br />
from my little finger*<br />
with barges drifting<br />
over paper<br />
and bells of ouzo peeling<br />
from the harbour<br />
I write all day<br />
over water<br />
until caring stars<br />
offer me<br />
a weary dusk of oleanders<br />
in return<br />
for my marble pen<br />
I lie back then<br />
on the metal sea<br />
and pour myself the moon<br />
*Yiannis Ritsos, a Greek poet whose work I greatly admire,<br />
lived from 1909-1990. The first two lines of my poem are by him.
Greenwood<br />
Kai Chan<br />
You might be interested in Kai Chan’s book<br />
https://books.oceanpounds.com/2021/09/tt.html<br />
A Cat and a Mouse<br />
7 x 34 x 4 cm, dogwood, basal wood, papîe maché, dye acrylic paint
Art Logbook<br />
Holly Lee<br />
Carmen staged on the world’s largest, spectacular floating stage in<br />
Bregenz, Austria with a set designed by British artist Es Devlin, staged<br />
by Kasper Holten.<br />
https://www.youtube.com/watch?app=desktop&v=9T2TsDUCa4I<br />
https://operaramblings.blog/2017/12/09/carmen-at-bregenz/<br />
https://frameweb.com/project/carmen-bregenz-festival<br />
Photograph<br />
Carmen from Bregenz Festival 2017 (image ©Frameweb.com)
CHEEZ<br />
Fiona Smyth<br />
You might be interested in Fiona Smyth’s book<br />
https://books.oceanpounds.com/2022/05/c456.html
FRIDAY, a weekly flyer, showcases<br />
highlighted artwork offers from the<br />
OCEAN POUNDS online shop.<br />
FREE and PAID Memberships.<br />
For a Paid subscriber, there’s an<br />
extra perk – exclusive emails<br />
containing discount codes for<br />
featured deals and other special<br />
offers.<br />
museumshop.substack.com
PRICE TAG POEMS: Occasional Verses<br />
by Gary Michael Dault, written to<br />
accompany his artworks in the online<br />
store. Dault will also be writing, from<br />
time to time, about the work of other<br />
store artists.<br />
PRICE TAG POEMS<br />
Published weekly at FRIDAY<br />
Kai Chan’s Wallflower<br />
https://oceanpounds.com/products/kai-chan-silk-screen-on-paper-8750<br />
By the Lake<br />
https://oceanpounds.com/products/gary-michael-dault-by-the-lake<br />
The Elderly Vase<br />
https://oceanpounds.com/products/gary-michael-dault-the-elderly-vase
Black Flowers: Drawings<br />
by Malgorzata Wolak Dault
Caffeine Reveries<br />
Shelley Savor<br />
You might be interested in Shelley Savor’s book<br />
https://books.oceanpounds.com/2022/09/mcmc.html<br />
Autumn Leaf Sonata #5
2K 5.0 (On the Crown of a Silver Maple)<br />
a collaboration by Kai Chan and Lee Ka-sing<br />
Direct order from BLURB, book-on-demand<br />
268 pages, 8x10 inch, soft cover, CAN$90<br />
https://www.blurb.ca/b/11745778-on-the-crown-of-a-silver-maple<br />
Ebook edition<br />
available at OCEAN POUNDS online shop<br />
download pdf file, US$5<br />
https://oceanpounds.com/products/2k50
Little by Little<br />
Paintings by Tomio Nitto<br />
You might be interested in Tomio Nitto’s book<br />
https://books.oceanpounds.com/<strong>2023</strong>/10/little-by-little.html<br />
Beaver’s sculpture<br />
20” x 16”
Rocky mountain<br />
24” x 18”
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
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