(dd) 0208-2019

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.
0208-2019
(edition February 8, 2019)
Seven Little Stories About Photography, from
Z FICTION series (Lee Ka-sing) / Sushi Grass in
Paradise (Holly Lee) / PAPER TALK: Woolmark
Project (Holly Lee) / VINTAGE: Four Photograms
(Holly Lee) / 50 Gladstone Avenue, photographs
(Lee Ka-sing) / H+K COLLECTION: Cui Xiuwen

CURRENT WORK 1
Lee Ka-sing - Seven Little Stories About
Photography - selected photographs from
“Z FICTION” series
Update
A DOUBLE DOUBLE special issue on Z FICTION was publish in October, 2022.
This edition covers most of the work from this series and in both English and
Chinese versions.
https://current.doubledouble.org/2022/10/2022-10.html

(2010)

(2010)

(2010)

(2010)

(2010)

(2010)

(2013)

CURRENT WORK 2
Sushi Grass in Paradise (A story)
written by Holly Lee
with photograph by Lee Ka-sing
(2) The Third Floor Library
Mrs. Bento has a key to a special room on the third floor. It
is a large room, lined with books and personal archives and
memorabilia. Though it is an approximately 800-square-foot
room, it is tiny by library standards. Regardless, the Bentos
call it the third-floor library. Violet, the young lady from whom
Mr. and Mrs. Bento bought this building two years ago, added
a condition in the contract that the ‘third-floor library’ must be
kept in its original state until further notice of change. At the
same time, Mrs. Bento also has to agree to keep it in good order.
In the first half-year when they moved in, the Bento family was
too busy renovating the three-storey house and converting the
entire second floor to run a bed and breakfast business. All that
work has taken up a great chunk of time, and Mrs. Bento rarely
stayed long in the library except for a quick cleanup. Now the
building is in much better shape and running on routine, she
can do some housekeeping for the library at least once or twice
a week. Though the room is almost an ‘open secret’ to her, she
has become increasingly curious about what personal history
it is withholding. And why the seller of the house insisted on
maintaining it in pristine condition.
One fine Tuesday, as she was dusting off the shelves in the
library, she spotted several diaries. Pulling one out randomly,
she leafed through it, stopped at the page with a blue adhesive
page marker, hesitated for a moment, but could not resist
reading what was written on it.

“Impossible memories. I was 21 in 1974, fervently following
Joni’s footsteps. I understood a little, but later on in life, early
memories collapsed into one blank canvas. A large part was
eclipsed and went into hibernation. No wonder it feels so
familiar — her songs at that time were also part of my life. The
special feature on Joni Mitchell in the Students’ Weekly did
help to bring back some memories.
Yes indeed, Joni is not necessarily fair to everything. Sometimes
she gets confused, passing on wrong judgment and mixing
present and past with shifted impressions. But who isn’t? I am
pretty sure I have such a tendency.
Looking back at what I wrote in that special feature, though my
feelings were genuine, it sounded overly mature and acted like
I knew everything. Now, to look back on what I’d written then
really feels like Joni’s confession. She once criticized herself
for having composed “Both Sides Now” at an innocent age and
not getting the real taste of her words. In response to her All-
Star Tribute in 2000, she returned to the stage to sing “Both
Sides Now.” She sang with a deeply reflective voice, and by that
moment, I knew she had got it. Some people in the orchestra
understood and cried. Should I, should I not then, also pay a
little respect to my younger self and learn to forgive my own
naïveté?”
Intrigued and lost for a moment, Mrs. Bento closed the diary
and gently caressed it. A tender feeling ran all over her. A
black diary made of faux leather, embossed with four digits: two
zero one zero.

PAPER TALK
Written by Holly Lee
In 1998, the Woolmark Company in Hong Kong planned its
yearly promotion by inviting five local photographers to work on
a photographic project. The photographers were Almond Chu,
Basil Pao, Holly Lee, Lee Ka-sing and Ringo Tang. It required a
collaborative work, pairing each photographer with a noted Hong
Kong fashion designer. I had chosen to work with Walter Ma and
produced two images using old photographs: one based on Kasing
when he was four, the other was an old portrait of his mother.
At the back of the photograph showing Ka-sing as a young boy, I
translated the poem written by him in the seventies. It is a poem
about his father.
I wrote the other four lines two days ago, re-imagining his mother.
Wrap myself in wool comfort
Trap the grass-green years
Strips of light come seeping through
Light up my chandelier
(Holly Lee, 2019)
Woolmark in Perspective, photoworks (1998) by Holly Lee

1998 年 出 版 的 「 十 人 詩 選 」( 李 國 威 ,
葉 輝 , 阿 藍 , 馬 若 , 李 家 昇 , 黃 楚 喬 , 禾
迪 , 吳 煦 斌 , 關 夢 南 , 梁 秉 鈞 ), 我 提 供
的 詩 不 多 , 其 中 有 一 首 只 得 八 行 的 , 題
目 是 《 介 紹 》。 這 原 是 一 首 中 長 度 的 詩
的 一 個 片 段 。 發 刊 在 是 個 選 本 , 我 只 選 用
了 八 行 , 並 在 詩 末 附 註 了 「 原 本 遺 失 ,
( 残 本 ) 見 錄 李 家 昇 黃 楚 喬 工 作 室 明 信
片 ,1981」。 遺 失 , 說 穿 了 不 外 是 個 藉
口 , 歸 算 是 個 1998 年 的 終 極 修 訂 本 罷 。
提 到 的 殘 本 所 屬 地 , 也 即 是 見 圖 這 幀 明 信
片 了 。 當 時 正 要 印 製 工 作 室 新 名 片 , 大 度
印 刷 機 的 版 面 還 留 下 偌 大 的 空 間 , 便 設 計
了 一 組 明 信 片 一 同 印 刷 。 明 信 片 以 家 庭 舊
照 片 為 基 礎 , 是 張 明 信 片 , 照 片 中 是 父
親 在 五 十 年 代 , 手 持 一 部 簡 約 老 式 電 影
機 。 至 於 後 來 他 擁 有 多 部 Bolex (Regular
8 及 16mm), 那 還 是 六 十 年 代 打 後 之
事 。 楚 喬 提 到 拍 攝 羊 毛 局 Woolmark in
Perspective, 在 明 信 片 背 後 的 譯 詩 , 便 是
出 自 這 個 源 頭 。( 李 家 昇 )
An artifact: “Ka-sing’s father with a movie camera, circa 50s.”
Postcard published in 1981

VINTAGE
Four Photograms by Holly Lee
8”x10” fibre-based gelatin silver photograph
(work year 1996)
edition 4/5

edition 4/5

edition 5/5

edition 5/5

CURRENT WORK 3
Lee Ka-sing - selected photographs
from the series “50 Gladstone Avenue
吉 石 大 道 50 號 , a macro and micro
documentary in present tense”
January 31, 2019 (she)

January 31, 2019 (Mao)

January 31, 2019 (he)

H+K COLLECTION
Cui Xiuwen 崔 岫 聞 (1970–2018)
Sanjie , 2003
digitally manipulated photograph
17.75”x5.5”, digital chromogenic print, titled and dated by the artist

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