{"product_id":"新書-亞際木刻圖繪-第六期-她的木刻-木刻實踐的女性視角","title":"【Zine】亞際木刻圖繪 第六期 《她的木刻: 木刻實踐的女性視角》","description":"\u003ch2 class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cspan\u003eInter-Asia Woodcut Mapping Issue VI\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eHer Woodcuts: Female Perspectives on Woodcut Practices\u003c\/span\u003e\n\u003c\/h2\u003e\n\u003ch3 class=\"mod_b type02_m057 clearfix\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003ch3 class=\"mod_b type02_m057 clearfix\"\u003e內容簡介 Description\u003c\/h3\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003e \u003cbr\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e談及木刻版畫，人們或許首先聯想到其剛勁的線條、強烈的對比，以及具批判性的傳統，也因此，這項媒介時常被賦予某種陽剛調性，或甚少將它與「她」的實踐聯繫起來。事實上，在亞洲現代木刻運動的脈絡中，男性藝術家的確較占據主導，女性的參與長期處於邊緣。即便在性別意識已逐步推進的今天，從女性視角或性別觀點回顧、重探這段歷史的研究，依然為數甚少。有見及此，本期《亞際木刻圖繪》嘗試以「她的視角」作為切入，梳理亞洲不同社會脈絡下女性創作者的實踐，從而審視那些在主流敘事中被遮蔽、異質而多樣的生命經驗，以及探討另一種自我組織與社會實踐的可能。\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWhen speaking of woodcuts, people often first think of its vigorous lines, stark contrasts, and its critical tradition. As a result, this medium is often endowed with a masculine tone and rarely associated with “her” practice. Indeed, within the context of Modern Woodcut Movements across Asia, male artists have largely dominated, while women’s participation has long remained at the margins. Even today, as gender consciousness gradually advances, studies that revisit and reexamine this history from women’s perspectives or through a gender lens remain relatively rare. In light of this, this issue adopts “her perspectives” as a point of departure by tracing the practices and experiences of women artists and practitioners in various Asian social contexts. It aims to examine the obscured, diverse, and heterogeneous life trajectories veiled by mainstream narratives, and to further explore the alternative forms of self-organization and social practice.\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv\u003e\u003cb\u003e\u003cb id=\"docs-internal-guid-d7af950a-7fff-2edf-e5cb-6d4d59b57171\"\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"content\"\u003e\u003cspan\u003e目錄 Content\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"content\"\u003e\u003cspan\u003e・她的木刻：木刻實踐的女性視角 | 編輯部\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e・招瑞娟：戰後日本大眾木刻運動中的華僑女藝術家 | 町村悠香\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e・1980年代女性藝術家們的民眾版畫：以「杜侖」為中心的民眾美術與版畫運動 | 稻葉真以\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e・如蕨的相處與連結：點印社訪談 | 吳君儀、李俊峰\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e・女性主義書店中的女性主義木刻小組：魔女版畫訪談｜狩野愛\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e・刻作「她助之網」：木刻藝術家李平與里林的訪談｜林閱\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e・耕作由女性主義者主導的安全空間：TkTk女性主義版畫者的個案研究｜蓋爾·維拉弗洛爾\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e・印刻只爲看見：「刻木尋梅」的藝術行動實踐｜刻木尋梅\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"content\"\u003e\u003cspan\u003e・Her Woodcuts: Female Perspectives on Woodcut Practices | Editorial Board\u003cbr\u003e・Zhao Ruijuan: An Oversea Chinese Female Artist in Japan’s Postwar Popular Woodcut Movements | Haruka MACHIMURA\u003cbr\u003e・People’s Print by Women Artists in the 1980s: The Minjung Art and Print Movement Centered on Dureun | Mai INABA\u003cbr\u003e・Interact and Connect Like Ferns: An Interview with Printhow | Krystie NG, LEE Chun Fung\u003cbr\u003e・A Feminist Woodcut Collective in a Feminist Bookstore: An Interview with The witch printmaking collective | Ai KANO\u003cbr\u003e・To Carve Her Networks: Interview with Woodcut Artists Li Ping and Lilin | LIN Yue\u003cbr\u003e・Cultivating Feminist-Led Safe Spaces for Creatives: A Case Studies of TkTk Feminist Printmakers | Gale VILLAFLOR\u003cbr\u003e・Carve to Witness: Rememher Group’s Artivism | Rememher Group\u003c\/span\u003e\u003c\/p\u003e\n\u003ch3 class=\"mod_b type02_m057 clearfix\"\u003e作者介紹 About the author\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e《亞際木刻圖繪》（又稱《木刻小誌》）以推動亞洲各地木刻實踐的經驗對話和知識生\u003c\/span\u003e\u003cspan\u003e產\u003c\/span\u003e\u003cspan\u003e為 目標，透過訪談、研究、策劃等工作串聯各地實踐者，修繕行動與論述之間的縫隙。小組 希望透過亞際視角理解共同面對的難題，並提出跨地域、跨國籍的串連方式提出方案。 自\u003c\/span\u003e\u003cspan\u003e2019\u003c\/span\u003e\u003cspan\u003e年起，團隊以每年一刊方式製作期刊，至今已出版五期。 \u003c\/span\u003e\u003c\/p\u003e\nIG：mapping_woodblock\u003c\/div\u003e\n\u003cdiv class=\"bd\"\u003e電郵：mappingwoodblock@gmail.com\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cdiv class=\"mod_b type02_m057 clearfix\"\u003e\n\u003cdiv class=\"bd\"\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003cdiv\u003e\n\u003ch3 class=\"content\"\u003e\u003c\/h3\u003e\n\u003ch3 class=\"content\"\u003e詳細資料 Details\u003c\/h3\u003e\n\u003cdiv class=\"content\"\u003e\n\u003cp dir=\"ltr\"\u003e出版：亞際木刻圖繪\u003cbr\u003e版次：2026年 3月（第一版）\u003cbr\u003e規格：27 x 20 cm、64頁（柯式印刷）\u003cbr\u003e語言：中英雙語\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePublisher: Inter-Asia Woodcut Mapping\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eDate: March 2026 (first edition)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eSpecifications: 27 x 20cm; 64 pages (offset printing)\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLanguage: Chinese and English\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e \u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Mi Spacium Culture 藝跡文化","offers":[{"title":"Default Title","offer_id":45190998949935,"sku":null,"price":300.0,"currency_code":"HKD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0576\/1191\/1215\/files\/zine-5467179.jpg?v=1775940854","url":"https:\/\/mispaciumculture.com\/products\/%e6%96%b0%e6%9b%b8-%e4%ba%9e%e9%9a%9b%e6%9c%a8%e5%88%bb%e5%9c%96%e7%b9%aa-%e7%ac%ac%e5%85%ad%e6%9c%9f-%e5%a5%b9%e7%9a%84%e6%9c%a8%e5%88%bb-%e6%9c%a8%e5%88%bb%e5%af%a6%e8%b8%90%e7%9a%84%e5%a5%b3%e6%80%a7%e8%a6%96%e8%a7%92","provider":"Mi Spacium Culture 藝跡文化","version":"1.0","type":"link"}