李家昇INDEXG B&B極短篇 with English translations by Luo Hui

8. 又一山人的猜想2


又一山人是來多倫多做展覽的。他甫進畫廊即嚇了一跳,怎麼牆全是空白的?我們向他細表他經F公司從香港空運的作品原定是上星期到的但現在還沒有來。F公司以準時快捷見稱(不過事物不總一定是永恆),我們連日來去電追問,答案仍是該個包裹不知所踪。一說還在機倉內沒有卸下來,一說它從來沒有踏過加國的邊境。電腦系統真會耍弄小說懸疑性。後來從F公司貨運經理口中知道那四乘八呎的巨物還在美國的Anchorage。總算有個實在。為甚麼還在美國?又一山人開始猜想。是不是四乘八呎照片太巨大?只有一些香港較傳統攝影圈人オ有這個見解,身在北美洲的海關官員不致那麼未見過世面罷。又一山人的照片拍的是建築中半途遺棄的建築物,也許照片太細緻了(他用的是8x10大片幅照相機),曝露了建築物內甚麼與美有抵觸的私隱需要扣查。也說不定在北京建造使館大樓時一些高科技磚塊輾轉給這糟糕的深圳爛尾樓用上了,拍照之後影像轉移到照片還可以探測得到訊號。現代的追踪科技真發達。也許應該這樣說 - 現在的照片打印技術真棒了!但無論如何這些照片滯留在美國那麼久是以前不可思議的事(我們都留戀在纖維紙基銀鹽照像紙)。也許可以從另一個角度假設 - 中國當代藝術的熱風把美人的腦袋燒壞了 - 他們打開照片,來個中國當代藝術私人欣賞小派對。這豈不是很危險,他們參照中國當代藝術在拍賣行的價目,私人將這些樓宇收起來。就算不是把整幢爛尾樓沒收,拿走幾個單位你也拿他沒奈何。又一山人來展覽的是一組叫"爛尾樓"的照片,每張照片約44乘80吋。內容都是一些在中國或其他城市建築到半途而停掉了下來的建築物。又一山人於9月30日經紐約來到多倫多,本來是當天晚上便是開幕酒會。照片沒有來,他在第三天早上依原定計劃離開多倫多回香港了。照片依然還沒有來。今天是10月4日,也即是多倫多Nuit Blanche全城藝術不夜天之日。"爛尾樓"展覽原是屬於其中一個項目。照片依然還是沒有來。我們把整個本事貼在門前,今夜畫廊不開放了。爛尾陣空,我們說笑是北美洲送給又一山人一則附加的概念裝置。又一山人拍攝爛尾樓時雖然不是悲觀而是採取中性角度,我們深信爛尾照片始終是會來的,爛尾陣空留給爛尾不是爛尾的正面希望。"爛尾樓"在不同城市展過,這個北美洲版本,算是別開生面罷。

8. anothermountainman’s hypothesis 2
anothermountainman came to Toronto to do a show. He was shocked when he walked into a gallery of blank walls. We tried to explain: the photographs he had shipped from Hong Kong via F company were supposed to arrive last week, but they were not here yet. (F is known for prompt delivery, but nothing is forever). We had inquired repeatedly about the shipping, but the answers were ambiguous. One said that the package was still in the aircraft; another said that it had not even entered Canada. The computer system proved to be as suspenseful as a good novel. It was later confirmed by a manager at F that our 4x8 ft monster of a package was still in Anchorage, Alaska. At least we now knew where it was. But why is it still in the USA, anothermountainman wondered. Is it because the photos, 4x8 ft in dimension, are too large? Such a view might exist in certain photographic circles in Hong Kong, but customs officers in North American must have seen stranger things than that. The photographs are about abandoned building projects. Perhaps the images are so detailed (he shot with an 8x10 camera) that they accidentally reveal secrets against US interest? Perhaps some high-tech bricks left over from the US embassy building in Beijing somehow got recycled and reused in a new skyscraper in Shenzhen, and the bricks were so technologically sophisticated that they could still be detected after they were transformed into photographic images? Such is the power of modern tracking technology. Or perhaps one should say: such is power of modern photography! Anyhow it is puzzling that these photographs should remain in the US for so long (we’ve become nostalgic for the fibre-based gelatin-silver paper). Here is another hypothesis: Chinese contemporary art is so hot that it blew the American officers’ mind—They decided to unwrap the photographs then and there and have little show for themselves. This could be misleading though—they might get carried away by the skyrocketing prices of Chinese art at the major auction houses, and decide to buy some of these hot properties for their private collection, a few units at a time if not entire buildings. anothermountainman’s exhibition is entitled “lan wei lou” (abortive buildings), a series of large-scale images (44x80 in.) of unfinished and abandoned construction sites now ubiquitous in China. On September 30th, the artist flew in from New York for the opening. The photographs had not arrived. When he left Toronto for Hong Kong two days later, the photographs still hadn’t arrived. Today, October 4th, Toronto kicks off its annual Nuit Blanche. “Abortive Buildings” is part of the festival programme. But the photographs are yet to arrive. We put up a notice on the door: the gallery is closed for tonight. An abortive no-show, that’s how we put it. A conceptual installation by accident, North America’s gift for anothermountainman. anothermountainman approached his subject from a neutral perspective, eschewing pessimism. We believe the missing photographs will eventually arrive. An aborted project does not have to mean decay or a dead-end. There is room for hope. “Abortive Buildings” has been shown in several major cities. This North American version really stands out.

7. 又一山人的猜想



猜想又一山人的猜想 - 在Grassetto房中的床上,早上他看著右邊窗沿的朱德華把面埋在牆內向著對面二層高的小屋。向東,陽光從小屋那個方向灑過來,這可能是朱的最好的一件作品。(昨天我們討論好的東西不一定需要是新作。)又一山人也擁有這個作品,而且是大一點的那個版本,而且還連同另一張(女的)合成一對。又一山人把這對照片靠牆放在地上,我在雜誌上看過 - 一份雜誌拍攝了又一山人的家。在該份雜誌我還另外看到又一山人的一對荒木經惟照片。那一對荒木照片是我賣給他的,當時正要結束香港OP攝影畫廊,我從多倫多手攜荒木經惟的照片到香港做了一個一星期的展覽。左邊床頭櫃旁邊的Hedio Suzuki。雖然又一山人沒有和他深談過,但也不算陌生,OP攝影畫廊開幕,我們請他從日本遠道來做了一個展覽。他拿著一個甚麼遠年電話從照片與左邊的梁志和搭訕。不,不應該是這樣 - Hedio只是用斷續斷續的語言,想與鄰座的朋友討論溝通的問題。梁志和也是又一山人熟悉的朋友,他明年五月也會來這裡做展覽。而且都是用同一個空間。梁志和與又一山人分別在不同年份代表香港在威尼斯雙年展。算是一個脈絡罷。在梁志和左邊的是李志芳,也是又一山人的朋友。李志芳與梁志和同是PARA- SITE的創辦人,要談香港的當代藝術誰也不會溜掉這個組織。李志芳明年九月也會來這裡做展覽。又一山人伸手將那酒紅色的窗簾拉開好讓更多的陽光從那扇大窗曬進來。窗簾面對著的正是李志芳早期的黑白照片,窗簾的顏色是李心愛的其中一種顏色,這顏色常常在他裝置作品裡出現。我是說又一山人在北美洲一間房子裡遇到這麼多常常和他在一起的好友。而且,都是他們精緻精彩的一面。

6. 電影節,睡在一齣紀錄片子的床上



C每年都從美國西岸來看多倫多的電影節。像看一齣紀錄片一樣,他看著我們畫廊的變化 - 他第一次來我們的畫廊,當時畫廊還在"糖果廠"(李家昇畫廊2000-2006設在Candy Factory Lofts)。C睡在Gracias房的床上,房間是一個暖咖啡色的調子。床靠背的牆,他去年來的時候還是掛著兩幅8x8呎Henrik Drescher的作品,當時二樓的畫廊正在做著Henrik的展覽。C劃算著這個去年還是漆著淺灰色的地台,如今鋪上褐棕色的闊條橡木地板。彷彿, Henrik在上一回展覽的那一大朶大紅花夜裡還在牆上尤如剛才那齣電影慢鏡頭地閃爍復閃爍。C第一次來這個畫廊新址是在2006年,當時我們剛搬過來才幾個月,新刷油漆的氣味還在空中盪漾,他看見我們開幕展的展品目錄冊便說要買Henrik的一幅手繪小品。很可能是他多次來多倫多其中一次最難忘的收獲。昨天他小聲對我說他把那小東西裝裱後放在屋的走廊,來探訪的朋友都讚過不已。他還補充說那是他其中一件最好的藏品。好的東西還是要通過時間把關的考驗。C 每次來畫廊都會買一點東西,這回我們剛正在展出CAROUSEL - 一份詩畫雜誌的原作,同時配合GOOD Edition新發行的XL大幅限量版。C買了兩幅XL版的Mark Laliberte, gustave morin及其他一些東西。對了,甚麼都要經過時間的考驗。不然人們怎會從老遠來看那個電影節。

6. Film festival, in a documentary bed
Every year C visits from the west coast for the Toronto film festival. He watches the changes in the gallery like watching a documentary film—The first time he visited we were still in Candy Factory (where Lee Ka-sing Gallery ran from 2000-2006). Now C sleeps in Gracias, a room painted a warm brown. His bed leans against a wall that, one year ago, was graced by two of Henrik Drescher’s collages, 8x8 ft each. Back then the second floor was still gallery space. C recalls that the floor was plywood painted a light gray. Now it’s wide-plank oak of a dark brown. The giant red flower in Henrik’s work still seems to be floating on the wall, fading in and out in slow motion. C visited the gallery in 2006 just a few months after we moved to this new location. The smell of new paint lingered in the air. In the catalogue of our opening show, C discovered a small drawing by Henrik. It turns out to be a major discovery for C. The drawing is now framed and hangs in his foyer, wooing friends and visitors. One of the best in his art collection, he told me yesterday. How good it is, time will tell. C would pick up a few items from the gallery on each of his visits. This time we are showing the art/poetry magazine Carousel, plus a new issue of extra-large GOOD Edition prints. C bought one Mark Laliberte and one gustave morin. How good they are, only time can prove. It’s proven that some people think it’s worthwhile to come all the way to see the film festival.

5. 大山鼓



大山專程來多倫多表演了兩場尺八之事不作細表了,城中的傳媒已有大幅面的報導。大山30年前從美國西岸去了日本學尺八,而且還取了個日本名字。此後各人便以大山稱呼,漸地已忘掉他原來的洋名了。大山每天均要與師徒兄弟上山劈竹,造尺八令他領悟到用竹造鼓的竅門,他給我看他設計的鼓 - 鼓皮拉緊在粗大竹管的兩端,竹管腰處開有不同大小之氣孔。這不正是尺八的放大版嗎?敲拍在鼓膜,空氣向竹管內推移,看他指掌熟練地在各氣孔間雀躍來回,氣流收放形成高低頻道聲浪。這聲浪又恰巧與他手拍在鼓膜上發出的聲音延遲了半拍,一拍一和,和氣極了。他說他設計的鼓已取了專利。昨天晚上東京電視台打電話來留下口訊,大山向我借Skype電話回覆。聽他一口流利日語令我想起温子的故事 - 我們一位日本朋友温子,旅居香港多年大家言談間都是操本地話(廣東話),有天一位諳日文的中國朋友聽見温子說日語驚訝稱讚她的日語竟然說得那麼漂亮。大山住在Ginger房,我們沒有機會向他提及Ginger房內的一又二分一個的日本關係。其一是房中掛了一位日藉攝影師的作品(Hideo Suzuki), 另外的二分一是房中也擺了一位出生在多倫多的半個日本人 Ansel Yamamoto Mitic 的膠油彩畫 (Ansel母親是日本人)。Ansel父子都是屬於畫抽象的派系,Ansel去年兩歲半,在我們畫廊做了一個展覽作品全部賣光了。電視,報紙等傳媒等都來風光。我不能武斷說他的作品比他的父親的好,不過有一個可能的是假若大山聽了Ansel的故事,說不定會觸起他設計另一件樂器的靈感。

4. 全體照


Bob是另一個也是叫Bob的攝影師朋友介紹的。Bob從紐約來多倫多3天主要替一間油公司在某酒店拍攝一張500人的全體照。抵埗後的兩天看他都是在做取景等準備工作,第三天才正式拍攝。我是在第四天即是他要離開那天的早餐桌上才與他拉開話題。拉開話匣子他便說他房間窗沿那張男背裸像(朱德華作品)親切面善,而掛在床左牆的(梁志和作品)雖然他是從紐約來他說他卻從來沒有看過紐約天空這一個想飛的角度。他沒有提及李志芳的水仙 - 李志芳對著一面大窗,窗前掛著一對從天花落地的棗紅色厚手天鵝絨窗廉,靜如神父。Bob提及他拍攝的全體照是該油公司分佈全世界的分銷代理。我沒有看過照片,我猜想那會是很像先一些時候在畫廊展覽的李永銓的有刺頭像照片的局部。

3. 準確摔死的奧祕



Don住在有著一幅櫻桃紅色大牆的Ginger房。從卑詩來多倫多15天主要是參加一個訓練裝死的課程。甚麼?裝死也啥要那麼的專業?試想你開心狂笑翻身倒在地上-慢鏡-準碓地摔在一個已定的圓點不偏也不倚。並且,整個過程需要完全配合面部肌肉的移動。在第15天Don還要通過一度考試方才可以獲得確認文憑。Don說你們的床舒適極了,改寫了我對移動重心下掉的觀念。Don原是唸戲劇的,他的跨張部份完全可以理解。他現在國家氣象環境部工作,他說來學裝死是為兩年後退休後的一條後路。不如直說是含接在他唸戲劇後的一條小橋。

2. 從Kew來遊多倫多的女子



她一面將"英倫早餐"茶包放進她手上那天鵝湖藍色的杯子一面打量我手上那圓肚玻璃茶壺(不知多少人從我手上盛讚過那位德藉設計師),我正在泡我的武夷烏龍茶。不算是甚麼特品茶葉,不過也令剛來探訪的兩位日本朋友大為激賞。我教她使用那日式設計的熱水器。"象印","樂聲"都是我們少時就開始熟悉的熱水器名字。也算是一種東方文化特質罷,每次我都要花一段較長的時間才能夠把整整壺水泡熱(相對於西方熱水器的急熱設計),還有一點的是它提供著24小時全時域保温以及具存著一些其他細眉眼的功能。

2. Woman visiting Toronto from Kew
She dipped her English Breakfast teabag into a dark blue mug in her hand while keeping her eyes on a plump glass teapot in my hand (I do not know how many have praised that German designer), the one I was using to brew my Oolong from Mount Wuyi. The tea wasn’t particularly rare, but good enough to win over two Japanese friends who had recently visited. I showed her how to use an electric kettle made in Japan, the kind (like Zojirushi or Panasonic) that had been familiar to us since we were young. Do kettles make a cultural difference? This one takes a while to heat up (compared to the “instant boil” in Western designs). It has a 24-hour “keep warm” feature and a few other micro functions.

1. 住在Grassetto房間的Moneto和Monica



M甲對M乙指著早餐食物桌上那盤水果說它們那麼標緻撩人,想弄擺設的人必是有著幾口切果子的不同品種刀子。

1. Moneto and Monica in Grassetto

M1 says to M2 while pointing at a plate on the breakfast table: the fruits look so pretty and tempting… someone must have cut them with several different kinds of knives.