{"title":"Inter-Asia Woodcut Mapping","description":"","products":[{"product_id":"inter-asia-woodcut-mapping-series-v-the-multiple-trajectories-of-postwar-woodcut-movement-戰後亞洲的木刻運動及其多重軌跡nts-in-asia","title":"Inter-Asia Woodcut Mapping Series V: The Multiple Trajectories of Postwar Woodcut Movement 戰後亞洲的木刻運動及其多重軌跡nts in Asia","description":"\u003cdiv class=\"x14z9mp xat24cr x1lziwak x1vvkbs xtlvy1s x126k92a\"\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-start=\"35\" data-end=\"135\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e亞際木刻圖繪（五）：戰後亞洲的木刻運動及其多重軌跡\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eInter-Asia Woodcut Mapping V: The Multiple Trajectories of Woodcut Movements in Postwar Asia\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"137\" data-end=\"186\"\u003eEdited by Li Junfeng, Wu Junyi, and Chen Weilun\u003c\/p\u003e\n\u003cp data-start=\"188\" data-end=\"536\"\u003eIn recent years, artist collectives across Asia have been turning to woodcut printing as a shared medium—valued for its accessibility, reproducibility, and its ability to move between individuals and communities. Through this practice, many groups engage with urgent social issues, encouraging people to document their own stories through images.\u003c\/p\u003e\n\u003cp data-start=\"538\" data-end=\"862\"\u003eActive across Indonesia, Malaysia, Japan, Korea, Taiwan, Hong Kong, mainland China, and the Philippines, these collectives address topics such as migrant labor, displacement of Indigenous communities, urban poverty, and queer identities—seeking ways to understand and respond to shared conditions across different regions.\u003c\/p\u003e\n\u003cp data-start=\"864\" data-end=\"1176\"\u003eSince its founding in 2019, the Inter-Asia Woodcut Mapping collective has been documenting these practices through independent publishing, exhibitions, and exchange programs—building a space for cross-regional dialogue and alternative cultural production. This publication marks the fifth volume in the series.\u003c\/p\u003e\n\u003cp data-start=\"1178\" data-end=\"1504\"\u003eThis issue focuses on the development of modern woodcut movements in postwar East and Southeast Asia. Tracing its roots back to the 1930s—when Lu Xun advocated woodcut as a tool for representing reality and exposing social conditions—the movement spread across the region, taking on distinct forms shaped by local histories.\u003c\/p\u003e\n\u003cp data-start=\"1506\" data-end=\"1893\"\u003eFeaturing seven essays from contributors in China, Hong Kong, Taiwan, Japan, Korea, Singapore, and the Philippines, this volume explores how artists have mobilized woodcut as a form of social critique and action in postwar contexts. It also examines how Cold War political structures shaped these practices, revealing both their possibilities and limitations within shifting realities.\u003c\/p\u003e\n\u003cp data-start=\"1895\" data-end=\"2040\"\u003e✧\u003cbr data-start=\"1896\" data-end=\"1899\"\u003ePublication: Inter-Asia Woodcut Mapping\u003cbr data-start=\"1938\" data-end=\"1941\"\u003eDate: August 2024\u003cbr data-start=\"1958\" data-end=\"1961\"\u003ePages: 80\u003cbr data-start=\"1970\" data-end=\"1973\"\u003eLanguage: Bilingual (Chinese \/ English)\u003cbr data-start=\"2012\" data-end=\"2015\"\u003eFormat: Offset printing\u003c\/p\u003e\n\u003cp data-start=\"2042\" data-end=\"2070\" data-is-last-node=\"\" data-is-only-node=\"\"\u003eNow available at Now Place ✶\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n【《亚际木刻图绘（五）：战后亚洲的木刻运动及其多重轨迹》 】\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003eInter-Asia Woodcut Mapping V: The Multiple Trajectories of Woodcut Movements in Postwar Asia\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e编辑：李俊峰、吴君仪、陈韦纶\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e出版发行：亚际木刻图绘\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e出版日期：2024年8月\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e页数：80\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e语言：中英双语\u003c\/div\u003e\n\u003cdiv dir=\"auto\"\u003e规格：柯氏印刷 Offset printing\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"x14z9mp xat24cr x1lziwak x1vvkbs xtlvy1s x126k92a\"\u003e\n\u003cdiv dir=\"auto\"\u003e近年来，亚洲各地兴起一批以木刻版画为媒介的艺术群体（art collective）。木刻版画因工具简便、技法易学，成为创作者与社区互动的桥梁。许多艺术团体借此关注社会议题，鼓励民众以视觉艺术记录自身故事。这些群体活跃于印度尼西亚、马来西亚、日本、韩国、台湾、香港、中国大陆、菲律宾等地，创作议题涵盖移工移民、面临拆迁的原住民、城市贫困阶层、性小众群体等，在跨地域的社会共通性中，探索理解与回应现实问题的可能路径。\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"x14z9mp xat24cr x1lziwak x1vvkbs xtlvy1s x126k92a\"\u003e\n\u003cdiv dir=\"auto\"\u003e亚际木刻图绘小组自2019年成立以来，持续关注亚洲各地的木刻版画创作，并通过独立出版、展览与交流计划，推动跨区域对话，记录另类文化的生产路径。迄今已出版五期《亚际木刻图绘》，以不同主题梳理木刻版画与社会议题的关系。\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"x14z9mp xat24cr x1lziwak x1vvkbs xtlvy1s x126k92a\"\u003e\n\u003cdiv dir=\"auto\"\u003e第五期《亚际木刻图绘》聚焦“现代木刻运动”在战后东亚与东南亚的发展轨迹。现代木刻运动可追溯至20世纪30年代，由鲁迅推动，强调以木刻版画表现现实、揭露社会问题。这一艺术实践影响深远，并逐步传播至东亚及东南亚。然而，各地因社会发展脉络不同，现代木刻实践的路径亦有所分化，呈现多重面貌。本期特别收录来自中国、香港、台湾、日本、韩国、新加坡及菲律宾的七篇文章，探讨各地艺术家如何在战后语境下，将木刻版画结合社会批判与行动，并进一步考察冷战时期的政治格局如何影响这些艺术实践，揭示其在现实环境中所遭遇的挑战与局限。\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"x14z9mp xat24cr x1lziwak x1vvkbs xtlvy1s x126k92a\"\u003e\n\u003cdiv dir=\"auto\"\u003e本书已在岛读书店上架，欢迎到实体店面或线上选购。\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Now place","offers":[{"title":"Default Title","offer_id":44409906495581,"sku":null,"price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0657\/6481\/9037\/files\/Screenshot2026-04-29at3.06.32PM.png?v=1777500429"},{"product_id":"inter-asia-woodcut-mapping-series-vi-the-multiple-trajectories-of-postwar-woodcut-movement-戰後亞洲的木刻運動及其多重軌跡nts-in-asia-copy","title":"Inter-Asia Woodcut Mapping Issue VI: Her Woodcuts: Female Perspectives on Woodcut Practices | 她的木刻: 木刻實踐的女性視角","description":"\u003cdiv class=\"x14z9mp xat24cr x1lziwak x1vvkbs xtlvy1s x126k92a\"\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-start=\"35\" data-end=\"135\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e亞際木刻圖繪 第六期\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e《她的木刻: 木刻實踐的女性視角》\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eInter-Asia Woodcut Mapping Issue VI\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eHer Woodcuts: Female Perspectives on Woodcut Practices\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\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\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eContents:\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e・Her Woodcuts: Female Perspectives on Woodcut Practices | Editorial Board\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e・Zhao Ruijuan: An Oversea Chinese Female Artist in Japan’s Postwar Popular Woodcut Movements | Haruka MACHIMURA\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e・People’s Print by Women Artists in the 1980s: The Minjung Art and Print Movement Centered on Dureun | Mai INABA\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e・Interact and Connect Like Ferns: An Interview with Printhow | Krystie NG, LEE Chun Fung\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e・A Feminist Woodcut Collective in a Feminist Bookstore: An Interview with The witch printmaking collective | Ai KANO\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e・To Carve Her Networks: Interview with Woodcut Artists Li Ping and Lilin | LIN Yue\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e・Cultivating Feminist-Led Safe Spaces for Creatives: A Case Studies of TkTk Feminist Printmakers | Gale VILLAFLOR\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e・Carve to Witness: Rememher Group’s Artivism | Rememher Group\u003c\/span\u003e\u003cbr\u003e\u003cbr\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\u003cbr\u003e\u003cspan\u003e簡介：\u003c\/span\u003e\u003cbr\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\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e目錄：\u003c\/span\u003e\u003cbr\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\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e出版：亞際木刻圖繪\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e版次：2026年 3月（第一版）\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e規格：27 x 20 cm、64頁（柯式印刷）\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e語言：中英雙語\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Now place","offers":[{"title":"Default Title","offer_id":44409908527197,"sku":null,"price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0657\/6481\/9037\/files\/Screenshot2026-04-29at3.07.57PM_f171c100-c003-4047-84fe-f8e3ab7d791c.png?v=1777500571"},{"product_id":"inter-asia-woodcut-mapping-issue-vi-her-woodcuts-female-perspectives-on-woodcut-practices-她的木刻-木刻實踐的女性視角-copy","title":"An Introduction to Woodblock Prints for Action | 木刻版畫行動入門","description":"\u003cdiv class=\"x14z9mp xat24cr x1lziwak x1vvkbs xtlvy1s x126k92a\"\u003e\n\u003cdiv dir=\"auto\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-end=\"135\" data-start=\"35\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eAn Introduction to Woodblock Prints for Action\u003cbr\u003e《木刻版畫行動入門》\u003c\/span\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003cspan\u003eWritten and edited by the Japanese woodblock collective A3BC, is a concise and practical introductory handbook for action-oriented woodcut printmaking! Covering everything from step-by-step creation techniques to essential tools, this zine systematically introduces the fundamentals of woodblock printing. It also features reflections on collective creation by practitioners from different regions, alongside related woodcut artworks—offering rich content to support your journey into printmaking as a form of action.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWritten and edited by \u003c\/span\u003e\u003ca role=\"link\" href=\"https:\/\/www.instagram.com\/a3bcollective\/\" class=\"x1i10hfl xjbqb8w x1ejq31n x18oe1m7 x1sy0etr xstzfhl x972fbf x10w94by x1qhh985 x14e42zd x9f619 x1ypdohk xt0psk2 x3ct3a4 xdj266r x14z9mp xat24cr x1lziwak xexx8yu xyri2b x18d9i69 x1c1uobl x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz notranslate _a6hd\" tabindex=\"0\"\u003e@a3bcollective\u003c\/a\u003e\u003cspan\u003e\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ePublished by \u003c\/span\u003e\u003ca role=\"link\" href=\"https:\/\/www.instagram.com\/mapping_woodblock\/\" class=\"x1i10hfl xjbqb8w x1ejq31n x18oe1m7 x1sy0etr xstzfhl x972fbf x10w94by x1qhh985 x14e42zd x9f619 x1ypdohk xt0psk2 x3ct3a4 xdj266r x14z9mp xat24cr x1lziwak xexx8yu xyri2b x18d9i69 x1c1uobl x16tdsg8 x1hl2dhg xggy1nq x1a2a7pz notranslate _a6hd\" tabindex=\"0\"\u003e@mapping_woodblock\u003c\/a\u003e\u003cspan\u003e × A3BC\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eLanguage: Chinese and English\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eJuly 2025, First Edition\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003eSize: 14.8 x 21 cm\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e以木刻版畫作為藝術行動，該從何下手？由日本藝術小組A3BC編著和策劃的《木刻版畫行動入門》，是一本簡明實用的創作指南！書中從創作步驟、技法到工具清單，系統介紹木刻版畫行動的基礎知識，同時收錄各地實踐者關於集體創作的思考及相關作品，內容豐富，助你踏上版畫行動之路。\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Now place","offers":[{"title":"Default Title","offer_id":44409913114717,"sku":null,"price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0657\/6481\/9037\/files\/Screenshot2026-04-29at3.10.00PM.png?v=1777500703"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0657\/6481\/9037\/collections\/Screenshot_2026-04-29_at_3.01.41_PM.png?v=1777500146","url":"https:\/\/01rm4m-iu.myshopify.com\/collections\/inter-asia-woodcut-mapping.oembed","provider":"Now place","version":"1.0","type":"link"}