Review of Inter-Asia Self-Organized Woodcut Mapping Series III: Institution and Beyond评《亚际自组织木刻实践图绘 III: 体制及其后》

《亚际自组织木刻实践图绘 III: 体制及其后》

陈韦纶、吴君仪、李俊峰、李丁编辑，亚际自组织版画实践图绘工作小组出版，英文、繁体中文，丝网印刷

《亚际自组织木刻实践图绘》关注的是东亚与东南亚的木刻版画在地自组织，比如沙巴的“庞克摇滚社”、香港地区的“点印社”，中国内地的“木刻波流”等。这系列小誌并未浪漫化木刻实践，而是以跨地视野采访、记录并分析它们对彼此的影响，同时加入社会历史的脉络。新一期讨论的问题是“艺术体制”，涉及到二十世纪至今木刻与左右翼政治的关系。木刻这一曾被主流使用的形式，今天成为了社群建设和底层发声的手段。此时此刻的实践者该如何认知自己手中的刻刀？

难得的是，编者们并未仅仅将资本主义市场和政府自上而下的力量视为体制，而是体察地将非正式的方式也纳入反思。基于对“超级朋友网络”的反思，编者之一吴君仪向木刻社群提问，“行动者又该如何审视和拆解因着‘共同性’而衍生的权力”，并且警觉，“‘共同’想象的背后有时也是对‘差异性’的某种排除”。而她也敏锐意识到，这一情况正如“亚洲”所面临的问题一样：如何以差异视角保存亚洲内部的参差多态。

Machine translation (AI) of the Chinese original, not yet reviewed by the author. Please cite the original.

Inter-Asia Self-Organized Woodcut Mapping Series III: Institution and Beyond

Edited by Chen Wei-Lun, Krystie Ng, Lee Chun Fung and Li Ding. Published by the Inter-Asia Self-Organized Woodcut Mapping Working Group; English and traditional Chinese; screen-printed

Inter-Asia Self-Organized Woodcut Mapping looks at local, self-organised woodcut printmaking in East and Southeast Asia – Pangrok Sulap in Sabah, Dianyinshe in Hong Kong, Muke Boliu in mainland China, among others. The zine series does not romanticise woodcut practice. Instead, with a view that crosses borders, it interviews these groups, records them and analyses how they have influenced one another, while setting them in their social and historical context. The new issue takes on the question of the “art institution”, including the relationship between woodcut and left- and right-wing politics from the twentieth century to the present. Woodcut, a form once taken up by the mainstream, has today become a means of building communities and giving voice to those at the bottom. How should practitioners today understand the carving knife in their hands?

What is rare is that the editors do not regard only the capitalist market and top-down state power as institutions; with real perceptiveness, they bring informal arrangements into their reflection too. Reflecting on the “super-friend network”, Krystie Ng, one of the editors, asks the woodcut community “how activists should examine and dismantle the power that grows out of ‘commonality’”, and warns that “behind the imagination of the ‘common’ there is sometimes a kind of exclusion of ‘difference’”. She is also keenly aware that this mirrors the problem facing “Asia” itself: how to preserve the unevenness and diversity within Asia from a perspective of difference.