(dd) 0125-2019

DOUBLE DOUBLE webzine archive 2019-2021
DOUBLE DOUBLE was initially released as a weekly publication,
spanning from January 4, 2019, to December 31, 2021, with a
total of 158 issues. Following this, it underwent a transformation
into book-on-demand and ebook formats, transitioning into a
monthly release structure. This monthly publication continued
from January 2022 until the end of 2023. As of 2024, the
frequency of publication shifted to a quarterly basis. Despite
these changes, the content consistently maintained its focus on
the archival material from Ka-sing and Holly, new works, and
collaborative pieces.
0125-2019
(edition January 25, 2019)
A Potluck Song. Poem (Holly Lee) / MOBILE
POETRY LAB - The Psychological Journey
While Taking a Colour Photograph of a Dinosaur
(Lee Ka-sing) / ARTIFACT - “camera works,
holly & wingo” / PAPER TALK - Bowlshit (Holly
Lee) / VINTAGE - photogram (Holly Lee)

CURRENT WORK 1
A poem by Holly Lee
(2017)
A Potluck Song (To celebrate Ka Tai and
Rebecca’s arrival in Toronto after debarking
from a cargo ship in Trinidad, Port of Spain.)
lunch time munching the leftover
I’m multi-tasking checking another guest arriving tomorrow
friends thank you for your lovely cooking my mouthful
of wind-dried tomatoes
not forgetting kimchi pancakes from Yosh
I take you all at Gladstone 50 last night mostly vegetarians :)
so the five-spiced duck Kai made
left enough to fill our tonight’s stomach
(where have all the good squids gone, Tomio?)
Vik your potato apple salad is as vicious as your food jokes
marinated eggs, moon cake with single yoke,
Hami melon, red wine and sake
all you green salad all you cumin rice
intoxicating
drowning
in Stella’s singing
one day when we were young
let’s stuff the night into my transparent belly
let’s put me out to sea
let’s imagine the face of the person
to him I will say
I am a bottle
I am a hundred years old
I carry with me a poem
and seafaring stories
and a hot hot fever
for my kindreds’ return

CURRENT WORK 2
Lee Ka-sing - work from the MOBILE
POETRY LAB series.
The Psychological Journey While Taking a Colour
Photograph of a Dinosaur 為 恐 龍 拍 攝 一 幀 彩 色 照
片 的 心 路 歷 程 (2012)
Pine wood, archival inkjet print on paper, acrylic medium,
1243mm x 86mm x 35mm

ARTIFACT
“camera works, holly & wingo” - the two-person exhibition, Hong Kong
Arts Centre, 1981
We had our first major exhibition in 1981 since we have started up the photography
studio in 1977. The publicity materials for the exhibition, including invitation card,
poster and a large format exhibition brochure, were designed by Wong Kin-ho and
Li Kam-fai of the Illustration Workshop. This was a layout sketch by Kin-ho. Our
portrait was photographed by Leong Ka Tai.
Exhibition brochure, 11.5”x17”, 20 pages. Portrait photo: Leong Kai Tai
Invitation card and brochure layout sketch by Wong Kin-ho and Li Kam-fai of the Illustration Workshop.

「 假 想 , 攝 影 可 以 是 一 篇 文 字 。 生 活 在 你 面 前 的 一 條 魚 。 一 首 詩 。 送
給 你 的 朋 友 。 遞 給 他 一 杯 牛 奶 。 祝 福 她 。
一 面 昇 起 的 旗 對 你 說 , 早 晨 。 今 天 陽 光 真 好 。 一 把 平 靜 的 傘 。 曾 經 撑
起 過 一 千 個 雨 天 的 故 事 。 他 們 都 這 樣 這 樣 的 橫 臥 在 你 的 面 前 。 我 選 擇
的 是 每 天 常 用 的 攝 影 和 視 覺 方 法 。 燈 光 和 結 構 。 不 同 的 只 是 旗 子 可 以
在 風 中 燃 燒 著 一 個 陽 光 燦 爛 的 早 晨 。 傘 子 可 以 不 斷 不 斷 張 開 自 己 的 故
事 。
其 實 技 巧 和 畫 面 都 不 是 那 麼 重 要 的 問 題 。 每 人 都 生 活 在 生 活 裡 。 你 不
裝 飾 别 人 的 房 子 , 卻 裝 飾 了 別 人 的 空 間 。」( 李 家 昇 , 1981)
「 當 一 個 人 站 在 你 的 面 前 , 你 的 鏡 頭 只 是 一 隻 眼 睛 , 凝 固 的 影 像 會 是
一 些 怎 樣 的 風 景 。
沒 有 人 會 害 怕 眼 睛 。 我 努 力 地 把 鏡 頭 變 成 眼 睛 , 這 樣 , 人 可 以 拼 棄 一
切 的 裝 飾 , 拘 謹 , 悠 然 自 得 地 談 笑 起 來 。 這 是 一 面 看 不 到 的 自 己 。 凝
固 的 影 像 卻 告 訴 了 很 多 , 這 個 人 的 性 情 , 身 分 。 或 許 , 他 甚 至 站 了 出
來 , 說 我 就 是 我 。
我 的 人 像 照 片 , 人 是 重 心 , 也 成 為 構 圖 的 一 部 分 。 我 喜 愛 形 象 和 這
片 白 色 空 間 所 扣 成 的 關 係 。 我 喜 愛 照 片 中 的 人 物 , 他 們 都 是 我 所 熟
悉 的 , 或 仰 慕 的 人 物 。 我 喜 愛 每 一 次 拍 攝 過 程 , 是 獨 一 無 二 的 一 次
交 通 。 他 們 的 豐 富 生 命 力 也 豐 富 了 我 的 照 片 - 我 的 朋 友 , 藝 術 家 及 其
他 。」( 黃 楚 喬 , 1981)
The above texts were reprinted from the “camera works, holly &
wingo” exhibition brochure. In the next issue of DOUBLE
DOUBLE we will publish a body of vintage photographs from
Holly’s portrait series “Pictures of Friends, Artists and People I
Know 我 的 朋 友 , 藝 術 家 及 其 他 ”
(opposite page) Front and back of the invitation card

EARLY WORK 1
Photographs by Lee Ka-sing
Two works from a series of still life photographs
on personal things. “camera works, holly &
wingo” exhibition, 1981
同 志 你 好 tong zhì ni hao, 1980

Update
This work is currently in the collection of M+ Museum, Hong Kong
This is Not an Apple (after Magritte), 1980

EARLY WORK 2
Photographs by Lee Ka-sing
Two works from a series of photographs
of China. “camera works, holly & wingo”
exhibition, 1981
Both photographs were taken in Guilin in 1980.
Some of the works in that series were later included
in the IMAGES OF CHINA BY HONG KONG
PHOTOGRAPHERS ( 香 港 攝 影 家 看 中 國 ), Hong
Kong Arts Centre, 1984, an exhibition curated by
Michael Chen.
The girl in red stockings, 1980

Boy with red scarf, 1980

PAPER TALK
Bowlshit
written by Holly Lee
Photo by Holly Lee. Bowl from the Both Sides Now series, 2014. 5x7
inch. Archival pigment print.
Lake Bright Mountain Colour (LBMC): So I heard you are sold for
$10,800. That’s amazing.
White Jade (WJ): The estimate auction price was from $8,000
to $12,000. Taken my value, which I strong believe they have
underestimated, I should be well over the price range.
LBMC: That’s better than nothing. At least you are well taken
care of. Look at that beautiful glass case of yours, and the soft
black velvet you are lying on. That spot light picking up all your
glamours chrysanthemum, lotus and cloud patterns. I really envy
that.
Photo by Lee Bo-Kam (Ka-sing’s father). Circa early 70’s. 5x7 inch.
Chromogenic print.
WJ: But you see, I was finely hand-carved in low relief, with rolls
and flows of angelic hairlines. Besides, I am Qing Dynasty old,
with a Qianlong mark to the base. How could they not taken these
into consideration?

LBMC: Oh well, you were definitely born in a different time, a
family member in the royal kitchen. Even though I’ve become
almost ‘antique’ now, I belong to a different class, the class of the
common people. As a wedding gift, I was once celebrated, used
and then broken. Now I can only sit among other bowls on the top
shelf of the kitchen cabinet, never to see sunlight, never to meet
admiring eyes, never to be even ‘used’ again.
WJ: I hear ye I hear ye. You are lucky still at least to have some
companions. I am locked in this glass prison, and there are plenty
of them here. How do I compete for attention? I’d rather go back
to the royal kitchen, then I would have a better chance of serving
the Emperor, to be in his loving hands. I don’t mind even if I fall
into the hands of his concubine, I mean his most beloved one, as
long as I could escape this cold and boring prison.
LBMC: Yes, sadly. We are imprisoned, captives in another time.
Unlike our human beings, who will be saying they have a long life
when they live up to their nineties. Our kind is almost immortal,
some of our ancestors live up to thousands of years, though they
may be reduced to a limb or a toe. By the way, there is another
truth. Our cheap siblings, our plastic half-brothers and sisters,
they are so indestructible! They are not as organic as we but they
can live up to a thousand years, with all their toxicity.
WJ: They are worst than shits!

THINGS + OBJECTS
Lee Ka-sing: 學 生 手 冊 School Handbook (logbook) 1961 (work 1980)
a photograph from “camera works, holly & wingo” exhibition
I was born in Hong Kong and lived with my uncle (father’s elder brother)
in Guangzhou since two years old. In 1962 I returned to Hong Kong
to continue my school education. This school handbook issued in China
served as a document for my identity, while I was crossing the country
borders.

H+K COLLECTION
Nobuyoshi Araki
photograph from EROTO series (1993)
20”x24” fibre-based gelatin silver print, signed on verso

VINTAGE
Photogram by Holly Lee
雲 咸 街 69 號 的 一 點 回 憶 Ka-sing and Holly (work 1991)
Ilfochrome, 11.25”x16”
This original photogram was shown among a series of Holly’s
photographs on family portraits, at RESTRICTED EXPOSURE, an
exhibition organized by the Hong Kong Fringe Club at City Hall in 1996.
The exhibition showcased a number of Hong Kong artists, whose work
was in the sense of ‘private’. A related book PRIVATE CONTENT: PUBLIC
VIEW edited by Eric Wear and Lisa Cheung was published in 1997.
In 2015, this image was shown again, as an enlarged archival inkjet
print, in pairing with a black and white digitally constructed photograph
“We knew each other since tender age” in DUOS /TRIOS, a solo
exhibition at GALLERY 50 in Toronto.
Quoted from the artist statement, DUOS /TRIOS, 2015: “Cameraworks,
Holly & Wingo - I used materials from our exhibition catalogue (1981)
to recreate a new work, a constructed photogram on Cibachrome
paper. Towards the 90s, as computer became more capable, it was not
painstaking to fabricate pictures like We knew each other since tender
age.”

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