1206-2019


DOUBLE DOUBLE
Writings/ Photographs/ Poetry/ Archives
A Holly Lee and Lee Ka-sing online magazine. Published on Fridays.
李家昇黃楚喬網上雜誌,逢星期五出版

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CURRENT WORK

Sushi Grass in Paradise (A story)

written by Holly Lee
with photographs by Lee Ka-sing

(43) A Stela incised with the Keepers of Light

From The Family of Man catalogue, Chai gathered the names of 257 photographers, shy of 16 from the 273 people claimed in the collection at Clervaux Castle. When Chai further diagnosed the list she detected some interesting facts.

• Many images were selected from assignments, from photo journalists working for News agencies or magazines such as Life, Magnum, Pix, Fortune, Rapho Guillumette, Sovfoto or Black Star.

• 60% of photographers were Americans, made up of those born in the United States, and immigrants who became citizens. Many were European photographers thus suggesting that the ensemble of pictures was built heavily from a Western point of view.
 
• A neglectable number of artists working as fine art photographers. 

• A neglectable number of artists working in other media such as film, painting and writing.

•  A neglectable number of commercial/fashion photographers.

• A neglectable number of Japanese and Asian photographers.

• 15% of photographers was women. Chai highlighted their names in yellow, leaving those that she was not sure of their gender.

• A number of photographers have achieved world-wide fame, with photo books publicizing their work, she underlined those she's heard of.

• Remaining is a large number of names going anonymous, having not enough media coverage to introduce their work.

• The exhibition was grouped by themes common to all mankind, forming a giant photo-essay of humanity, a dazzling kaleidoscope of love, birth, family, friends, work, play, conflict, hunger, worship, migration, government, fear, hope and dream.
 
Eugene Harris, Wynn Bullock, Dmitri Kessel, Ralph Morse, Gotthard Schuh, Laurence LeGuay, Roy De Carava, Louis Faurer, Robert Doisneau, Ernst Haas, David Linton, Wayne Miller, Werner Bischof, Robert Capa, Frank Horvat, Hans Malmberg, Jay Te Winburn, Henri Cartier-Bresson, Paul Himmel, Margery Lewis, Elliot Erwitt, George Rodger, Hideo Haga, Robert Frank, Manuel Alvarez Bravo, Richard Harrington, Nell Dorr, Nico Jesse, Leon Levinstein, Gitel Steed,  Eiju Otaki, Lennart Nilsson, Irving Penn, Lisa Larsen, R. Diament, Chien Hao, Satyajit Ray, Anna Riwkin-Brick, Ted Castle, Constantin Joffé, Eve Arnold, Consuelo Konaga, Eric Schwab, Hannes Rosenberg, Constance Stuart, Nat Farbman, David Seymour, Alfred Eisenstaedt, Arthur Leipzig, Ian Smith, Clemens Kalischer, Shirley Burden, Edward Steichen, Burt Glinn, Edward Wallowitch, Yasuhiro Ishimoto, Ruth Orkin, Bill Brandt, Russell Lee, Pal-Nils Nilsson, Carl Mydans, Willy Ronis, Homer Page, George Heyer, Eugene Smith, Ronny Jaques, Dorothea Lange, George Silk, A Uzlyan, Gottfried Rainer, Bob Jakobsen, Diane and Allan Arbus, Martha Kitchen, Robert Carrington, Vito Fiorenza, Nina Leen, Charles Trieschmann, Brassai, David Duncan, Ihei Kimura, Li Shu, Shizuo Yamamoto, G H Metcalf, Loomis Dean, Edward Clark, Jack Delano, Jakob Tuggener, Ansel Adams, Todd Webb, Margaret Bourke-White, Abdul Razaq Mehta, Charles Rotkin, Robert Mottar, Wermund Bendtsen, Gustav Thorlichen, Walter Sanders, Lennart Nilsson, Marcos Chamudes, August Sander, Frank Scherschel, Steinheimer, Arthur Lavine, Allan Grant, Gjon Mili, Eva Besnyo, Simpson Kalisher, Emil Obrovsky, Barbara Morgan, Walter B Lane, Fritz Goro, Gordon Coster, J R Eyerman, Torkel Korling, Pierre Verger, Ruth Davis, E Sved, Rudolf Pollak, Hans A Schreiner, Leopold Fischer, Yoshisuke Terao, Koslovsky, Ernst Brunner, John Collier, Erich Andres, Vero, Jerry Cooke, Gorky, Hiroshi Hamaya, Paul Berg, Hermann Claasen, Ralph Morse, Francois Tuefferd, William Garnett, Jacob Lofman, N Kolli, Sam Falk, Bradley Smith, Sol Libsohn, Leonard McCombe, Ed Feingersh, John Bertolino, Hugh Bell, Bob Willoughby, Rudolf Busler, Sabine Weiss, Hans Wild, Kurt Huhle, Kurt Severin, Bob Schwalberg, Arthur Witmann, Ralph Crane, Eddy Van der Elsken, George Strock, Leonti Planskay, Hedder Morrison, Nick De Morgoli, Lisette Model, Nora Dumas, Kosti Rouhomaa, Henk Jonker, Harry Lapow, Karl Sandels, David Brooks, Garry Winogrand, Ewing Krainin, Francis Miller, Musya S Sheeler, Edward Clark, John Phillips, Roman Vishniac, J De Pietro, Otto Hagel, Esther Bubley, Bert Hardy, Andreas Feininger, Harry Callahan, W C Rauhauser, Edward Weston, Carl Perutz, Fred Plaut, Ruth Marion Baruch, Cornell Capa, Ike Vern, Guy Gillette, Joseph Breitenbach, Herbert List, Peter Stackpole, Peter Moeschlin, Vitor Jorgensen, Jean Marquis, Gordon Park, Leon Levinstein, Henri Leighton, Eleanor Fast, Allan Turoff, Mildred Grossman, Ted Castle, Izis, Matthew Brady, Arnold Maahs, Lola Alvarez Bravo, Willie Huttig, Robert Halmi, May Mirin, Karl W Gullers, Rondal Partridge, Louis Clyde Stoumen, Daniel J Ransohoff, Alfred Statler, Al Chang, D Harrissiades, Ben Shahn, Doris Ulmann, Cas Oarthuys, William Vandivert, Jack Lorner, Hans Hammarskjold, A Mar Shak, Tana Hoban, Thomas McAvoy, Fenno Jacobs, Rene Croebli, Lou Bernstein, Raymond Jacobs, Fritz Neugass, Marion Palfi, Michael Rougier, Carmel Vitullo, John Florea, Dan Weiner, Sam Falk, Edmund Bert Gerard, Herman Kreider, Reva Brooks, Peter Habalin, Joan Miller, Yoichi Okamoto, Raphel Platnick, Emmy Andriesse, Alma Lavenson, Unosuke Gamou, Don Ornitz, Charles Leirens, Suzanne Szasz, Barney Cowherd, Richard Avedon, Annelise Rosenberg, Toni Frissell, Helen Levitt, Sanford Roth, Hella Hammid, Lee Miller, Carter Jones, Gita Lenz, Jasper Wood, Lewis Carroll, Farrell Grehan, Edouard Boubat.

 

"Sushi Grass in Paradise" is an on-going story. To read the full length version with previous chapters, please visit- https://oceanpounds.com/blogs/sushi-grass-in-paradise

 

 

RECENT WORK

Lee Ka-sing
圖花源記 (2009-2010) Photographs and writings

圖花源記寫於2010年,當時斷續發表在網誌。共寫了38篇,這裡只保留了其中20篇。照片拍攝於2009至2010年間。這些照片都是來自當時我的一個屬於桌上抓拍的計劃。抓拍對我來說,常常只是一個過程,因為寫了文字,卻改變了影像原來的屬性。也是因此而變得具體和踏實。如今想來,圖花源記應是我後來創作Z FICTION系列(2004-) 的前身。不過後者在圖像的發展過程中已經主觀地構成了故事的梗概,文字擔當伸延和提升的作用。相對,圖花源記的照片都是單層,文本給它一個大變身。

 

(圖花源記)一首詩是否適宜作多媒體表演我還是懷疑(當然,有種植物是培植來代替氣油的那又作別論),至於它是否因此而推廣了詩我想大概都不是事實。假若因此他拍了一個好電影,那原著小說當然可記一功,但畢竟好電影即是好電影,世界並沒有奇蹟地多人讀起小說來。

 

(圖花源記)八九十年代我們迷戀陽光。很多工作照片都以陽光為光源,甚至在影室也用一支很大功率的鎂光燈模擬陽光作為唯一光源。至於不想要光的地方我們就設計東西把光遮擋去了,所以拍照佈燈的過程也即是佈置障礙物的過程。我們稱此為減光法。關於這點卻後來被一些人理解成為政治覺悟。

 

(圖花源記)開始迷上杜象是在八十年代。有一回,在紐約現代美術館小賣部買了他的一組(六張)題目叫 Rotoreliefs(1935)的複製品,之後,在他的不同作品裡找到了旋轉物的印證。至於後來我心想的環迴使用,無終極論等等,都不外是這些複製物的引伸而已。

 

(圖花源記)許多年前已經有了攜帶如眼鏡的電視屏,但好像不怎的流行過來。說到照相機,設在電話手機上的可謂已經普及如潮,甚至影響了人們拍照的行為。我不喜歡用手機,自然沾不到這近世行為學之光。不過我倒渴望有一具如眼鏡帶在臉上的照相機,它和我的眼睛同步,當然最好不過的是與我的大腦同想。不然,照片只得半條生命而已。有人說針孔​​照相是攝影之源,最近發現這具眼罩式之很可能是攜行針孔照相遠古關連物。而且,它還是多焦曝光區域的那種。

 

(圖花源記)寫政治寓言小說「動物村莊」見稱的佐治奧威爾說看作品如見作者之容顏。有回他談狄更斯作品就說他怎的也不像他的肖像照。我們也看看佐治奧威爾像不像他寫的蘇維埃共產主義寓言。還有,留意看他的神情是否同時暗藏了後來共產主義走了樣的脈絡。

 

(圖花源記)昨天讀到一段博文,大意是說現在文學的悶極,都在穿揭社會的瘡疤。沒有認同卻令人洞開去遠處想。又讀到另一段博文談論關於肖像攝影。在拍這許石頭的肖像時它們臉部已沒有了感情跳動的區域我便專注去往其他部份。左邊的曾經顯赫於一場偉大戰役,由於事隔遠古,我已經不能一瞬之間確定我的政治立場。右下角的曾經殺死一人,至於是事出自衛還是謀財害命卻沒有詳細記載可以來個道德判斷。右上角的一說它是最無暇,也有的說最無奈。不曾沾過一滴血水便被牢牢關進博物館裡。

 

(圖花源記)有一段時期流行著一種玩意是將左右眼睛的視焦調校到某一個定點,再配合大腦的意念,先設的圖像經過這失焦的過程,便會浮現出一幅另一番景象。景像是否能浮現很大程度上是決定於大腦的意念。當時旅經紐約東京也見有人在專注這玩意,也有藝術家以此為創作。可惜大家都停留在圖像方面沒有驅往文化行為的層次,不然那會是一些很好的政治隱喻。

 

(圖花源記)當年想飛的理由是因為那照相機拍出來的照片怎都是平看的角度,你總看不到山後還有的山。後來設計了飛機拍照又覺得山和山之間實在太過於一目了然,不留給森林一點個人的私隱。而且,觀點都一腦子給那飛行物拿著不剩餘給你一點個人的想法。

 

(圖花源記)在畫廊,一個(隨朋友從Montreal來的)中年男子突然對我說喜歡收集(並暗示想購買)關於毛的照片。我在幾乎完全沒有心理準備的情況之下,隨手給他指了一指在玻璃櫃右邊李永銓有著蘑菇群體的毛的頭像。他有點錯諤。我馬上意會到這不是他想要的那種,我沒有再進一步本來是想給他介紹另一幅毛把玩著紅色橡皮圈的全身像。整個溝通的過程只是在三至四十來秒之間。事後我才想起當時忘了給他推介這張臉圓可人頭向著陽光的招手照。

 

(圖花源記)關於光。我是說一個燈泡的光,也許還是應該由它四周的環境來定義。暗夜,它明亮。白天或許就不算是甚麼了。誰來要求它一定要明亮畢挺端裝對稱,我是說一個發光物是否還可以醉醉看世界。如果舉例說燈泡就如一個地方官員怎樣?不過我們都沒有要求它炬火如熾日。

 

(圖花源記)小說情節放送發射塔。這只是一個假想,現實中大概沒有這樣的事情。我是說當廣播中的新聞被扭曲了發射塔的頂部便會出現曲狀,播放空中小說,內容曲折離奇,發射塔的形狀也順延地蛇曲扭動。我在多倫多看過一藝術家的裝置作品,他把很多的燈布放在建築物上面。當音樂放送,感情高低憂怨,燈的光亮明暗便會因而產生起伏。假若建築物的形狀也能產生變化那將是建築學或是物枓應用科範疇的一個很大建樹。

 

(圖花源記)梯級和扶手的關係。我們說拾級而上,梯級的建築,某程度是基於山勢或路之所需。如水之於河床,順流而下。扶手原為附梯而建,給踏梯者有個安心的把手。其功能上也可說是個輔助性。也是這點,給造扶手的人略為天馬行空,把它打造得有如一道說話游動的光在山石與梯級之間疾走而過。

 

(圖花源記)有一回,我們高聲討論紀實攝影。攝影到底是由光來把關,抑或粒子,抑或記錄一個瞬間才是真主。最後我們還是不能怎的拿下一個結論。

 

(圖花源記)我們說笑,紅棉道旁邊那個堡壘原是屬於另一個國皇的。不過,由於建築物是屬於一種圓型設計的關係,即使門口改了坐向,欄杆幾個裝飾組件的改動並沒有實在地改變了它本身的權力意義。

 

(圖花源記)春天想起夏天的風。六十年代住在廣州的曙光路(當時稱作長壽路)。我們的屋正對著樂善戲院的右側,每天傍晚開鑼前的調校雜耍現在想來真如現代音樂的隨意章。我們家中就是有一具這樣的電風扇。它好像沒有想說甚麼,而委實它又說了一個事隔那麼多年你還尚記得的故事。樂善戲院後來又變了一房舊物買賣所,雖然都是和舊物有所相關的,不過那是完全兩碼子的事。

 

(圖花源記)讓我的萬年文明回來代取你的千年歷史罷。你是這土地上第八個吃光掉你自己所有積蓄的貴族。

 

(圖花源記)七月之後我們便進駐這城市。將所有的胡同變成連鎖店。城西那座水銀鏡面青獸色弓型建築物將會是我們第一座環城展示中心駐腳地。

 

(圖花源記)有人說有鹿曾經在此出現。港島大坑山腰,豪宅林立,不可能有隔世仙物嚼食人間煙火而走眼於警衛防線。

 

(圖花源記)還是徹底忘掉那些故事罷。我本欲與你們乘風游去,但腳下又膠著百年古藤有千個解不開的情意結

 

(圖花源記 )時間靜止之哀傷。此後,人們都記得那一次意外是發生在9時零4分。只是這個記憶大家卻付出了海一般的代價。

 

 

 

 

 

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DOUBLE DOUBLE
Issue 1206-2019

A Holly Lee and Lee Ka-sing online magazine. Published on Fridays.
Published by Ocean and Pounds and archived at oceanpounds.com
All rights Reserved.


Selective items in this publication are available at the OCEAN POUNDS online shop. For items featured in CURRENT WORK, VINTAGE, ARTIFACT, PUBLICATION, OBJECT, BOOKSCAPE and COLLECTION, please send a request to: mail@oceanpounds.com.

If you are a researcher or writer and want to use the material, please write us in advance. Some of the materials might have different level of copyrights involved.

Not to miss a single issue, please subscribe to DOUBLE DOUBLE Release Notification. Visit - http://doubledouble.org

DOUBLE DOUBLE previous issues were archived at -
https://oceanpounds.com/blogs/doubledouble

leekasing.com is a portal website for current and earlier works. Apart from exhibitions, Holly and Ka-sing use extensively web platforms to display photography and writing projects. Contact us for a detail list of links.

Holly and Ka-sing currently live in Toronto with their daughter Iris, and their cat Sukimoto.

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