亞際自組木刻版畫串連圖繪 Mapping on the Development of Self-Organised Woodcut Collectives in Inter-Asian Context (1990s-2010s)

3660

亞際自組木刻版畫串連圖繪 Mapping on the Development of Self-Organised Woodcut Collectives in Inter-Asian Context (1990s-2010s)  (3660)

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International Centre of Cultural Studies/A4/29ページ(English & 繁体中文)

 

Started in the 1990s, self-organised woodcut collectives have bloomed across Indonesia and fostered the birth of numerous woodblock printing collectives in Malaysia, Japan, Taiwan, Hong Kong and Mainland China. As the development and inter-Asia affiliations have taken place across East Asia and Southeast Asia, they formed a self-organised network among these artists who concern about society. Through collective creation, production and exhibition, their art practice epitomised an aesthetic/ ethical revolution that rethinks “collective” and combines the dimensions of grassroots and everyday life practice. We invited art practitioners and researchers, who have long been interested in or familiar with the self-organised woodcut collectives in East Asia and Southeast Asia, to participate collectively in this zine. Through case-studies in our articles and network mapping, we can deliberate on “an alternative route” of the inter-Asia autonomous cultural network. (via krystie712.wordpress.com)

List of Articles and Contributors

  1. Rethinking Collective: Mapping on the Development of Woodblock Printing Collective in Inter-Asian Context / The Editorial Board
  2. The Left-Wing Spirit of the Indonesian Artist Collective Taring Padi / CHEN Wei-Lun
  3. Collaboration or Social Mobilisation? The Historical Context of Gotong-Royong and Its Politics / Krystie NG
  4. How to Sustain a DIY Artist Collective? In the Case of A3BC / KANO Ai
  5. “To Exist Like a Mystery”: The Dynamic of Trans-Local Cultural Activism Network in East Asia / LEE Chun Fung
  6. From “Popularisation” to “De-popularization”: Rethink Woodcut Printing in the Context of Chinese Contemporary Art / LI Ding
  7. Published by the International Centre of Cultural Studies, October 2019.

目次

  1. 再思「集體」:圖繪亞際木刻版畫集體的發展/編輯部
  2. 印尼藝術家集體「稻米獠牙」的左翼精神/陳韋綸
  3. 自發協作還是社會動員?談Gotong-Royong的歷史獄警及其政治/吳君儀
  4. 如何持續發展一個DIY藝術家集體?:以A3BC為例/狩野愛
  5. 「像充滿謎團的存在」:東亞跨地域文化行動的動態網絡/李俊峰
  6. 從「大眾化」到「去大眾化」:重新思考中國當代藝術語境中的木刻創作/李丁

 

90年代、自律的な木版画コレクティヴがインドネシア全土に開花し、マレーシア、日本、台湾、香港、中国本土で多くの木版画集団の誕生を促進した。東アジアと東南アジアの交流が活発になると、社会的な課題に関心を持つこれらのアーティストたちは、自律的なネットワークを形成するようになる。集団的な創造や制作、展示の企画など、かれらの芸術的実践は、「コレクティヴ」の再考を促し、また草の根と日常生活の次元の実践を組み合わせた、美的かつ倫理的な革命を表している。東アジアと東南アジアの自律的な木版画コレクティヴに、長い間関心を寄せてきた、または精通しているアート実践者や研究者に参加してもらい制作されたこのジンでは、ケーススタディとネットワーク地図を通じて、アジアにおける自律文化ネットワークの「オルタナティブ・ルート」を検討することができる(英語&繁体中国語の二ヶ国語zineです)。

 

 

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