I am down in the cabin and Ross, who is eighty feet up in the fire tower, sees smoke. He tries to report it but his radio isn’t working and nobody can understand him. They phone him back on the cell: does he need the water bombers? He says no, it’s just a spot fire. In that moment a huge gust of wind blasts through the cabin, blows a towel off a rack, slaps it against the valve of the water cooler and turns on the water.
Vientiane, the capital of Laos, is a fading one-time French colonial outpost on a spot where a bend in the Mekong River makes room for a large tear-shaped island directly opposite the centre-ville, which runs only far enough back from the riverbank to allow a few commercial streets. The new bridge to Thailand is a short distance way. Thai-style wats and other temples, minor and major, are everywhere.
During the hiatus, a man in a black suit appeared in the Geist Gallery in Toronto and identified himself as a builder of ornithopters, or perhaps he said he was a promoter of ornithopters (this was during the hiatus, when nothing was clear; in any event his field was ornithoptery). I couldn’t remember what an ornithopter was but I could see one in my mind: the question was, what did an ornithopter do? The ornithopter man was accompanied by a well-dressed woman who never stopped smiling.
I don’t take public transit very often, which is a failing—not just environmentally, but also personally, because sometimes that forced contact with the rest of the populated world can be profound. In Japan, many years ago, I was trapped in the small space between train cars by a crowd of schoolboys; my claustrophobia reached such a level that one leg began to judder up and down like the needle on a sewing machine, and the only thing that prevented me from climbing out over the tops of my fellow passengers’ heads was the gaze of a man about a foot away who conveyed calm to me by keeping his eyes trained on mine.
When I lived in Ottawa in the 1970s, I used to enjoy passing lazy afternoons at the National Gallery looking at the pictures. I remember how surprised I was when I first encountered the Group of Seven collection. These paintings were completely familiar—I’d seen them in schoolbooks and on calendars, posters, t-shirts, everywhere—yet at the same time they were completely unexpected.
Yishu: Journal of Contemporary Chinese Art is a new quarterly published in Taiwan and Canada by the anonymously named Art and Collection Group Ltd., which turns out to be an ambitious group of editors, writers, curators and artists in several countri