【Zine】亞際自組織木刻圖繪 III：體制及其後

《木刻小誌》第三期以「體制及其後」為主題，探討自組織實踐與體制之間的互動關係。在當 代藝術的語境，體制（institution）一詞泛指由官方或大型資本主導運營的美術館、展覽或藝 術機構等。然而，在概念層面，它亦可指稱一種組織的方式或既存的意識形態，有形或無形 

地在社會中建構權力。在此，自我組織的木刻實踐與體制之間，究竟是一種絕對的對立關 係，還是互為彼此？ 

The third issue of ”Woodcut Zine“ focuses on the idea of "institution" as to explore the relationship between self-organized practice and official institution. In the context of contemporary art, the term "institution" generally refers to art galleries, exhibitions, or art organizations run by the government or large-scale capital. Yet, from a conceptual level, it can also refer to a way of organization or existing ideologies that constructs intangible power in the society. Here, is the self-organized woodcut practice and "institution“ an absolute binary relationship, or is it complementing each other?

目錄 Contents 

來自編輯部的「自問自答」—— 體制及其後 //編輯部 

Self-Questioning of the Editorial Team –– Institution and Beyond // Editorial Team  

有關「體制」的筆記：從現代木刻出發 //李丁 

Notes on “Institution”: Begin with the Chinese Modern Woodcut Movement // LI Ding 

戰鬥木刻：台灣木刻版畫如何向右轉的歷史 //陳韋綸 

Militant Woodcuts: A History of How Woodcuts in Taiwan Turned Right // CHEN Wei-lun 

差異觀點：亞洲木刻小組組織形式的觀察 //吳君儀 

Differences in Perspective: Observations on the Organization of Woodcut Collectives in Asia // Krystie NG 

「戰後木刻藝術運動的萌芽：飯野農夫也與新居廣治」 展評 //狩野愛 

Exhibition Review of The Budding of the Postwar Woodcut Art Movement: Iino Nobuya and Nii Hiroharu // KANO Ai 

一起嗨 —— 訪談《刺紙》的自出版實踐與木刻社群的建立 //李俊峰、吳君儀 Get High Together: Interview on the Practice of Self-publishing and Community Building by Prickly Paper //LEE Chun Fung, Krystie NG 

附錄 Appendix 

紙上策展：木刻現場 

Curation on Paper: Woodcut In-Situ