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DOUBLE DOUBLE webzine archive <strong>2019</strong>-2021<br />
DOUBLE DOUBLE was initially released as a weekly publication,<br />
spanning from January 4, <strong>2019</strong>, to December 31, 2021, with a<br />
total of 158 issues. Following this, it underwent a transformation<br />
into book-on-demand and ebook formats, transitioning into a<br />
monthly release structure. This monthly publication continued<br />
from January 2022 until the end of 2023. As of 2024, the<br />
frequency of publication shifted to a quarterly basis. Despite<br />
these changes, the content consistently maintained its focus on<br />
the archival material from Ka-sing and Holly, new works, and<br />
collaborative pieces.<br />
<strong>0208</strong>-<strong>2019</strong><br />
(edition February 8, <strong>2019</strong>)<br />
Seven Little Stories About Photography, from<br />
Z FICTION series (Lee Ka-sing) / Sushi Grass in<br />
Paradise (Holly Lee) / PAPER TALK: Woolmark<br />
Project (Holly Lee) / VINTAGE: Four Photograms<br />
(Holly Lee) / 50 Gladstone Avenue, photographs<br />
(Lee Ka-sing) / H+K COLLECTION: Cui Xiuwen
CURRENT WORK 1<br />
Lee Ka-sing - Seven Little Stories About<br />
Photography - selected photographs from<br />
“Z FICTION” series<br />
Update<br />
A DOUBLE DOUBLE special issue on Z FICTION was publish in October, 2022.<br />
This edition covers most of the work from this series and in both English and<br />
Chinese versions.<br />
https://current.doubledouble.org/2022/10/2022-10.html
(2010)
(2010)
(2010)
(2010)
(2010)
(2010)
(2013)
CURRENT WORK 2<br />
Sushi Grass in Paradise (A story)<br />
written by Holly Lee<br />
with photograph by Lee Ka-sing<br />
(2) The Third Floor Library<br />
Mrs. Bento has a key to a special room on the third floor. It<br />
is a large room, lined with books and personal archives and<br />
memorabilia. Though it is an approximately 800-square-foot<br />
room, it is tiny by library standards. Regardless, the Bentos<br />
call it the third-floor library. Violet, the young lady from whom<br />
Mr. and Mrs. Bento bought this building two years ago, a<strong>dd</strong>ed<br />
a condition in the contract that the ‘third-floor library’ must be<br />
kept in its original state until further notice of change. At the<br />
same time, Mrs. Bento also has to agree to keep it in good order.<br />
In the first half-year when they moved in, the Bento family was<br />
too busy renovating the three-storey house and converting the<br />
entire second floor to run a bed and breakfast business. All that<br />
work has taken up a great chunk of time, and Mrs. Bento rarely<br />
stayed long in the library except for a quick cleanup. Now the<br />
building is in much better shape and running on routine, she<br />
can do some housekeeping for the library at least once or twice<br />
a week. Though the room is almost an ‘open secret’ to her, she<br />
has become increasingly curious about what personal history<br />
it is withholding. And why the seller of the house insisted on<br />
maintaining it in pristine condition.<br />
One fine Tuesday, as she was dusting off the shelves in the<br />
library, she spotted several diaries. Pulling one out randomly,<br />
she leafed through it, stopped at the page with a blue adhesive<br />
page marker, hesitated for a moment, but could not resist<br />
reading what was written on it.
“Impossible memories. I was 21 in 1974, fervently following<br />
Joni’s footsteps. I understood a little, but later on in life, early<br />
memories collapsed into one blank canvas. A large part was<br />
eclipsed and went into hibernation. No wonder it feels so<br />
familiar — her songs at that time were also part of my life. The<br />
special feature on Joni Mitchell in the Students’ Weekly did<br />
help to bring back some memories.<br />
Yes indeed, Joni is not necessarily fair to everything. Sometimes<br />
she gets confused, passing on wrong judgment and mixing<br />
present and past with shifted impressions. But who isn’t? I am<br />
pretty sure I have such a tendency.<br />
Looking back at what I wrote in that special feature, though my<br />
feelings were genuine, it sounded overly mature and acted like<br />
I knew everything. Now, to look back on what I’d written then<br />
really feels like Joni’s confession. She once criticized herself<br />
for having composed “Both Sides Now” at an innocent age and<br />
not getting the real taste of her words. In response to her All-<br />
Star Tribute in 2000, she returned to the stage to sing “Both<br />
Sides Now.” She sang with a deeply reflective voice, and by that<br />
moment, I knew she had got it. Some people in the orchestra<br />
understood and cried. Should I, should I not then, also pay a<br />
little respect to my younger self and learn to forgive my own<br />
naïveté?”<br />
Intrigued and lost for a moment, Mrs. Bento closed the diary<br />
and gently caressed it. A tender feeling ran all over her. A<br />
black diary made of faux leather, embossed with four digits: two<br />
zero one zero.
PAPER TALK<br />
Written by Holly Lee<br />
In 1998, the Woolmark Company in Hong Kong planned its<br />
yearly promotion by inviting five local photographers to work on<br />
a photographic project. The photographers were Almond Chu,<br />
Basil Pao, Holly Lee, Lee Ka-sing and Ringo Tang. It required a<br />
collaborative work, pairing each photographer with a noted Hong<br />
Kong fashion designer. I had chosen to work with Walter Ma and<br />
produced two images using old photographs: one based on Kasing<br />
when he was four, the other was an old portrait of his mother.<br />
At the back of the photograph showing Ka-sing as a young boy, I<br />
translated the poem written by him in the seventies. It is a poem<br />
about his father.<br />
I wrote the other four lines two days ago, re-imagining his mother.<br />
Wrap myself in wool comfort<br />
Trap the grass-green years<br />
Strips of light come seeping through<br />
Light up my chandelier<br />
(Holly Lee, <strong>2019</strong>)<br />
Woolmark in Perspective, photoworks (1998) by Holly Lee
1998 年 出 版 的 「 十 人 詩 選 」( 李 國 威 ,<br />
葉 輝 , 阿 藍 , 馬 若 , 李 家 昇 , 黃 楚 喬 , 禾<br />
迪 , 吳 煦 斌 , 關 夢 南 , 梁 秉 鈞 ), 我 提 供<br />
的 詩 不 多 , 其 中 有 一 首 只 得 八 行 的 , 題<br />
目 是 《 介 紹 》。 這 原 是 一 首 中 長 度 的 詩<br />
的 一 個 片 段 。 發 刊 在 是 個 選 本 , 我 只 選 用<br />
了 八 行 , 並 在 詩 末 附 註 了 「 原 本 遺 失 ,<br />
( 残 本 ) 見 錄 李 家 昇 黃 楚 喬 工 作 室 明 信<br />
片 ,1981」。 遺 失 , 說 穿 了 不 外 是 個 藉<br />
口 , 歸 算 是 個 1998 年 的 終 極 修 訂 本 罷 。<br />
提 到 的 殘 本 所 屬 地 , 也 即 是 見 圖 這 幀 明 信<br />
片 了 。 當 時 正 要 印 製 工 作 室 新 名 片 , 大 度<br />
印 刷 機 的 版 面 還 留 下 偌 大 的 空 間 , 便 設 計<br />
了 一 組 明 信 片 一 同 印 刷 。 明 信 片 以 家 庭 舊<br />
照 片 為 基 礎 , 是 張 明 信 片 , 照 片 中 是 父<br />
親 在 五 十 年 代 , 手 持 一 部 簡 約 老 式 電 影<br />
機 。 至 於 後 來 他 擁 有 多 部 Bolex (Regular<br />
8 及 16mm), 那 還 是 六 十 年 代 打 後 之<br />
事 。 楚 喬 提 到 拍 攝 羊 毛 局 Woolmark in<br />
Perspective, 在 明 信 片 背 後 的 譯 詩 , 便 是<br />
出 自 這 個 源 頭 。( 李 家 昇 )<br />
An artifact: “Ka-sing’s father with a movie camera, circa 50s.”<br />
Postcard published in 1981
VINTAGE<br />
Four Photograms by Holly Lee<br />
8”x10” fibre-based gelatin silver photograph<br />
(work year 1996)<br />
edition 4/5
edition 4/5
edition 5/5
edition 5/5
CURRENT WORK 3<br />
Lee Ka-sing - selected photographs<br />
from the series “50 Gladstone Avenue<br />
吉 石 大 道 50 號 , a macro and micro<br />
documentary in present tense”<br />
January 31, <strong>2019</strong> (she)
January 31, <strong>2019</strong> (Mao)
January 31, <strong>2019</strong> (he)
H+K COLLECTION<br />
Cui Xiuwen 崔 岫 聞 (1970–2018)<br />
Sanjie , 2003<br />
digitally manipulated photograph<br />
17.75”x5.5”, digital chromogenic print, titled and dated by the artist
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