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)

我對mapping 一直有種著迷,這次的對象是這群知道彼此存在甚至互相影響,卻未必見過面或有過交流的各地版畫小組,當然也有部分是被直接影響的。這個跨地域、超越族群、不限語言的串連究竟怎麼發生如何進行,套用李先生在文章裡quote 松本哉的說法:就像謎一樣的存在(好啦現實中沒有這麼迷幻,讀我們的文章就知道了)

一開始在提計畫的時候,就想說把這個在我腦裡很久的關係畫一畫,然後把幾個朋友寫過的文章冊成一本zine 出版,當初的想像就是那麼簡單。後來邀稿時作者們竟然跟我討論新題目的可能,也跟teammate不停掙扎到底讀者會是中文還是英文群體、找印刷的時候又發現了risograph、後來設計師跟我說要手繪etc⋯事情就變得翻倍複雜⋯

謝謝文字生產者在短時間內完成文章,謝謝翻譯、校稿熬了幾個夜把 bilingual 的文章弄出來,謝謝設計師在兩天裡面排完一本書而且排到很美,謝謝隊友給我很多自由和信任共同努力完成這件事⋯三個月內完成出版我一定把大家給逼瘋了 😱😱😱

小誌(室友說根本是一本書的規模!)終於出版了,全球限量200本,出版不到一星期已經剩不到一半,我真的不確定內容很不錯又印刷得那麼有質感的書能不能送到你手裡!

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

 

PS: 有興趣索取的人請聯絡:mappingwoodblock@gmail.com
第二版在洽談中,敬請期待!

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10-12-2019更新

小誌第二版終於出爐啦!

這次印了300本,封面有升級,也再次校訂了內文,很期待大家閱讀後的回饋和交流!為了方便遠方的大家索取刊物,在這裡列出索書點給大家:

馬來西亞:亞答屋圖書館
台灣:愁城 Trapped Citizen
香港:Art and Culture Outreach|艺鵠 
日本:Irregular Rhythm Asylum
中國大陸:(pm for personal contact)
印尼:Denpasar Kolektif (pm for personal contact)

雖然小誌的製作成本絕大部分已經由國際文化研究中心支持,過程中還有小部分的支出無法核銷,加上通過友人充當快遞物流把小誌帶到遠方流通,各個組織也有空間營運和人事成本,因此小誌象徵性徵收捐款,也希望能累積一點資源出版第二期的小誌,謝謝大家支持!

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. 

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 

Published by the International Centre of Cultural Studies, October 2019.

#woodblockprint #collective #mapping #zine

Hello Manila, Hello Dumaguete!

As we are presenting at the Inter-Asia Cultural ​Studies Society Conference 2019 at the Silliman University on Dumaguete Island, we decided to stay for another 2 days in the capital city, where Fung screened his new video work Boundaries.

你可能毋熟悉的客家-客家與基督教的相遇 What You May Not Know About the Hakka: The Encounter of Hakka People and Christianity

展覽終於開幕了!

2017年7月開始做的研究,期間多次到訪中國大陸、香港、沙巴、台灣各地的教會和研討會,寫了幾萬字的報告,整理了超過1TB的資料,改了又改的展示架構,還有最後各種緣分促成才借來的展示品,終於… 終於展覽在2019年3月開幕了!

目前也在努力進行編輯工作,希望明年初書冊可以出版面世!

展覽資訊:
「你可能毋熟識个客家:客家與基督教的相遇」特展
中央研究院民族學研究所博物館
2019-03-27 ~ 2020-05-31

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            In the mid-nineteenth century, European and North American missionary societies made contact with the Hakka societies of southern China and Taiwan. Missionaries introduced the Gospel of Christ together with modern medical treatment, hospitals, schools, scientific knowledge, social welfare organization, Lepsius writing etc., which deeply influenced the development of modern Hakka society and the social mobility of the Hakka people. This exhibition covers the background of Christianity’s introduction to China, the relationship between missionaries and the leaders of the Taiping Heavenly Kingdom, how the Basel Mission disseminated Protestantism to the Hakka region in south China, and how Hakka Christians spread from the Dongjiang River to Hong Kong, Sabah and further to Africa and South America. In Taiwan, Canadian and British Presbyterian Church also influenced the development of Hakka culture, where western elements were introduced and adopted creatively by the local believers to enrich Hakka culture in Taiwan.

March 27, 2019 to May 31, 2020
Museum of the Institute of Ethnology, Academia Sinica
https://www.ioe.sinica.edu.tw/Content/NewsReview/Msg_content.aspx?&SiteID=530164225631412251&MenuID=530210530623576651&SSize=10&Fid=0&View=1&MSID=2019032008560393855

民眾在何處? 亞際社會民眾劇場工作坊 Where the People Are… Workshop on People’s Theatre in Inter-Asian Society

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「民眾劇場」,屬於人民、由人民創作、為人民發聲的劇場,在歷史中以不同的形式出現。羅曼羅蘭(Romain Rolland)在1918年便已經以《民眾劇場》(Le Théâtre du peuple)一書,提出他的概念:國家是屬於歷史的,人民是屬於當下的。對羅曼羅蘭而言,國家與宮廷的劇場已經是過去的劇場,而隨著法國大革命到俄國十月革命,為人民並由人民創作的劇場也已經誕生。

二十世紀以「民眾劇場」為名而興起的戲劇團體,例如People’s Theatre, Popular Theatre,更隨著不同的社會政治局勢而在各地興起。最具代表性的包括巴西奧古斯托·波瓦(Augusto Boal)的「受壓迫者劇場」(Theatre of the Oppressed),非洲的「發展劇場」(Theatre for Development),菲律賓的「菲律賓教育劇場協會」(Philippines Educational Theater Association, PETA ),韓國的民眾劇場「廣場劇」(Madang Theater),日本的帳篷劇等。近三十年來,台灣、香港、印尼、泰國、新加坡、馬來西亞、印度與中國大陸,也都先後發展出當地不同形式的民眾劇場。

面對二十一世紀劇烈變化中的亞洲社會,跨國資本主義盛行、右翼國家主義崛起、社會貧富分化加劇,移動勞工各地遷徙,我們擬邀請亞洲不同地區的民眾劇場實踐者和研究者,分享他們於各自歷史現實環境下的工作經驗,逐一標記散落於台灣、香港、中國大陸、日本、韓國、新加坡、馬來西亞、印尼、菲律賓、泰國等地的民眾劇場光譜,共同思考在當前普遍困難的條件下,民眾劇場展開論述與實踐的各種可能性空間。

本次工作坊的探討主題是:過去三十年來,在不同地區的異質發展脈絡中,各地民眾劇場的實踐者如何定位自身?他們如何界定抵抗的方針以及抵抗的對象?如何採取民間的元素,而轉化為他們的劇場美學形式?三十年的歷史過程中,他們的劇場實踐是否發生了轉變?在當前的劇場實踐中,他們所面對的壓迫者在何處?與他們一起工作的民眾,又在何處?

工作坊於2018年12月13-15日在台灣新竹交通大學文化研究國際中心舉辦。會議文章、演講與討論將結集出版。

“People’s Theater” is a theater belongs to the people, created by the people and speaks for the people. In the twentieth century, numerous theatre groups that engage with the people rose in various places of different social and political situations. The most representative groups include the Theatre of the Oppressed by Augusto Boal in Brazil, the Theatre for Development in Africa, the Philippine Education Theater in the Philippines Association (PETA), the popular theater “Madang Theater” in Korea, the Japanese Tent Theater and so on. In the past three decades, Taiwan, Hong Kong, Indonesia, Thailand, Singapore, Malaysia, India, and mainland China have also developed different types of local theaters. This workshop intends to explore: During the last 30 years, in the context of heterogeneous development in different regions, how practitioners from local folk theaters positioned themselves? How do they define the policy of resistance and the object of resistance? How do they adopt folk elements and transform them into their theater aesthetic form? In the course of thirty years of history, has their theater practice changed? Where are the oppressors they face in current theater practice? Where are the people working with them?

開幕之夜 OPENING NIGHT

工作坊 WORKSHOP

資料閣 ARCHIVAL EXHIBITION

放映會 SCREENING

主辦單位: 國立交通大學文化研究國際中心、亞際文化研究國際碩士學位學程(台灣聯合大學系統)、交通大學社會與文化研究所
地點:台灣新竹市東區大學路1001號國立交通大學人社二館

A Trip to Kuala Lipis

Took the courage to follow Mr Ong from Light Up Borneo, Novia and her sis to Kampung Rangan and Kampung Janggap in  Terengganu. Since Mr Ong needs 1-2 days to fix the hydro-dam, we were encouraged to interact with the local kids. The art materials we brought are rare to the Orang Asli children, at first they were very shy, and due to different spoken language we had hard times to communicate. But very soon they started to draw, blow, splash, cut and paste and use them however they are comfortable with.

Four things I did during the last summer:

First, a mapping research about gentrification and injustice development took place from the past 20 years in Malaysia. 

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Second, translation work on Ketuanan Melayu and the nationalism of Malay archipelagos. 

Third, two research papers on social equality through arts, and self-organized art projects in Malaysia. I will be presenting the former one at CSAT conference in March 2018.
文化研究年會 2018

Fourth, I visited to Jeju Island, Busan and Seoul for F’s exhibition and No-Limit Festival, before the new semester commence.
Jeju Biennale 2017
No-Limit 2017

In this new academic year, I am preparing my oral proposal, while working on a research project entitled “Hakka, Basel Mission and Taiping Heavenly Kingdom”, we will put up an exhibition in 2019 at Academia Sinica.

I have been very busy and still long way to go, winter is here and I am hoping very much to go home in January.

xoxo

綠色小組三十週年研討會

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11月20日出席了在華山文創園區舉辦的綠色小組三十週年研討會及文物展,收穫與感動滿滿。研討會的開始由南藝大井迎瑞教授說明檔案(archive)的建檔、重要性、目的性和用途,也說明了檔案應該如何被建立以承載更大的意義。緊接隨的四場研討會分別對檔案和紀錄的再發現、綠色小組成立至衰退的事跡和精神承繼、各國當代的另類媒體運動和新媒體作出發表和討論,回顧綠色小組的同時也梳理了台灣和周邊國家對媒體的定位。大會用心準備了論文集,幾乎所有討論人/單位都發表了一篇論文,一天下來資訊滿滿,我很少有一整天下來還能吸收東西的狀態的!

衝撞與凝聚:綠色小組口述訪談集
作者: 陳世宏/主編
出版社:遠景
出版日期:2016/10/01

配合三十週年綠色小組還辦了一項文物展,展廳不大但當年所派上用場的器具,如錄影機、頻率發射器、錄影帶等都有展示,有一部舊款的黑白畫面電視機放映著當年拍下的社運狀況,還有一個簡約的timeline紀錄了86年到90年的事跡。當天還有新書發佈,陳世宏編輯的『衝撞與凝聚——綠色小組口述訪談集』,優惠價才200元!書裡記載了當年的事跡和訪談,朋友讀了說很有趣可以traceback許多小線索,大家可以去買來看看。

綠色小組的存在當然不只是1986-1990短短的5年,如今逾3000小時的錄影都被檔案化和在南藝大的網站上流通,有需要下面提供了連結。當天有很多人都說自己其實沒有聽過“綠色小組”,這裏很值得大家思考為什麼綠色小組沒有被公開討論,當然每個人關心的可以引發的還有很多,譬如(當天的一些提問)綠色小組的美學概念,綠色小組與民進黨的關係,綠色小組在TIDF台灣國際紀錄片影展的經驗和爭議課題等。我覺得這些問題可以一直被討論,而且唯有一直被討論這些檔案和當年的行動才有意義。而討論的空間或平台並不只侷限於實體的,它也可以發生在網絡媒體上、報章上。

最後,我想一提讓我印象很深刻的,是在研討會落幕前是“四大天王”的座談,傅島“被逼”發言,輕輕地說(大意):“我不懂怎麼回應那些複雜的提問,只是當年覺得被社會需要,就一直跟著那感覺走”,聽了十分感動,有時候沒有理念的理念才是最真誠最動人的。

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研討會結束大家即疲憊又興奮,大會offer留到最後的人都一起留個影吧,我想能擠進這張這麼有意義的照片是我的榮幸,它將來一定承載著歷史和非凡意義。

 

不忘附上相關連結:
綠色小組專頁  https://www.facebook.com/greenteam1986/
綠色小組檔案庫  http://greenteam.tnnua.edu.tw
衝撞與凝聚——綠色小組口述訪談集  http://www.books.com.tw/products/0010736368

這些年累積的飛行哩數

我是’12年畢業的,從那一年開始我自己出發到了不同的城市,經歷了很多不同的事物,這些體驗和回憶我希望能記得一輩子,因為這些是我這輩子擁有最可貴的東西了。而一開始我去的地方只是鄰國曼谷和新加坡而已。

話說‘13年因為一個因緣我自己到了歐洲半年,遊走在各大著名城市裡,巴黎、倫敦、伯明翰、威尼斯、佛羅倫薩、布魯塞爾等,奇遇的安排的都歷歷在目。那一次的冒險出走沒有得到任何人的支持,在踏出去之前我也從沒想過自己能不能、自己是不是勇敢的。回國前我非常珍惜在義大利每一天,因為我知道回去之後我就必須開始工作、生活,不會再有機會飛來飛去了。那一年我飛了9次。

‘14年開始我踏入瘋狂工作期,在公在私都有很多飛行的機會,work hard play hard 用於形容當時的我就很合適。我一直都沒有讓人知道,我是怕高的人、但小的人;其實是不願意一個人如此頻密的飛,但我沒有選擇,工作的時候必須看公司的安排,自己去放鬆的時候卻只想獨處。所以偶爾在同一班飛機上遇到認識的人,心裏總是會感覺比較踏實。那一年,我飛了14次。

‘15年我換了一份工作,非常認真、非常努力,所以年中不太忙的時段我請了一個月的假,和家人又回到了歐洲,長大後幾乎就沒有機會跟父母去旅行了,而且爸媽的年齡也不小了,所以那年的旅行心裏備感珍惜這樣的一次機會。那一年我也飛了14次,主要回到了英國,去了荷蘭和希臘。

‘16年我談了一段新戀愛,異地戀的關係讓我們必須飛來飛去飛到彼此的身邊,蘇黎世、香港、吉隆坡、臺北;而且我也開始了在台灣的深造生涯,一個人第一次進大學、租房子、自己生活,幸好航空業的發達讓距離成為你可以解決的問題。這一年,我已經飛了19了。

我當年年紀小多愁善感,怕自己沒有機會再走走看看而惆悵,誰人能預料未來的事,珍惜當下活在當下就是對生命負起最大的責任了。

A trip by their own

I am feeling glad that our parents made the trip back to China on their own, although for a rather sad occasion which my granduncle passed away. For the first time the eight siblings travelled together, we called it 八仙過海, not to forget our relatives from Singapore too so all 12 together. Beside of the funeral they also visited to our family house from both sides, and found out my great*x10 grandfather was a minister (禮部尚書) back in the Sung Dynasty! From Google, he was one of the great person from Teow Chew (潮州八賢) and now his tomb is a tourist spot. Very overwhelming family history! And this really inspired me a lot to document the family history as soon as possible because the elders are getting older and memories are fading.. Though I am tied here in Taiwan now, I hope I can still make it!

 

All photos credit to our parents.

Thoughts on the demolition of Puncak Purnama

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Image source: Malaysia Dateline

 

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Image Source: Ooi Kok Chuen

This is an article I write to jot my thoughts and reflections on the demolition of Syed Ahmad Jamal (1929-2011)’s Puncak Purnama by the City Hall (DBKL) on July 1. I am rather reluctant to react as I was observing and analysing the reactions and critiques from other artists, art lovers and art workers. I guess somehow my voice can stand for the people who share the same generation with me (which are quite till now) as I guess we didn’t involve in that era of arts development, the emotional attachment if compared are rather less and indifferent. 

1. I was born in the 90s, I know SAJ from the text books of my secondary school art class, and have only seen the great artist’s Gunung Ledang series from a field trip to NVAG during my year Senior 3 at Chong Hwa. Unfortunately my Malaysian Art History subject at college has zero mention of him. 

2. I always drive thru Jalan Sulaiman but I never really paid attention to this public sculpture which has been standing there since 1986. Am I too numb to the surrounding environment or was it being built at a rather closed area? This is pointing to the strategy and accessibility when setting up a public sculpture/ public art.

3. I wonder will there be the same reaction and support from artists and art workers if that’s not a work done by the late national pioneer? Live recording of the demolition, media coverages, open discussions, art creation, call for police reports, petition, press conference etc. I think artists should be united anyhow to take collective actions against hegemony at all times and situations.

4. If City Hall have had informed earlier the decision of demolishing the sculpture, what sort of actions will be called and will these actions somehow affected on the sculpture’s fate? I am sorry to say I doubted on that.

5. There’s no doubt the city hall have to take full responsibility on this. And the spokesperson should apologize for his poor knowledge and skill of communication. Some urged the City Hall to rebuild the sculpture; two issues here: what is the point of rebuilding when the original piece was not valued and now demolished. When talking about art, or appreciating it, what goes first. the context or the form? If context goes first, what’s the point of rebuilding the same old form? If form, what’s the point of rebuilding while the original form has been torned?

6. Despite the loss of a public sculpture, I think this is rather a lesson for all of us to reflect and react to the development in KL/ Malaysia. Regardless we as a citizen, artist, developer or decision maker, think twice, do we really need this River of Life project, do we really beneficial from it, is there any alternative to balance between cultural preservation and development?

By jotting my feelings and thoughts to the incident took place, this is an article to introspect and remark, I do not declare my standpoint allied to the City Hall in any way. I might be too young and innocent to say thing and I apologize if this statement here triggers anyone, but comment and discussion are welcomed.