The third issue of ”Woodcut Zine '' focuses on the idea of "institution" as to explore the relationship between self-organized practice and official institutions. In the context of contemporary art, the term "institution" generally refers to art galleries, exhibitions, or art organizations run by the government or large-scale capital. Yet, from a conceptual level, it can also refer to a way of organization or existing ideologies that constructs intangible power in the society. Here, is the self-organized woodcut practice and "institution“ an absolute binary relationship, or is it complementing each other?

目錄 Contents

來自編輯部的「自問自答」—— 體制及其後 

Self-Questioning of the Editorial Team –– Institution and Beyond 

… 編輯部 Editorial Team  

有關「體制」的筆記：從現代木刻出發 

Notes on “Institution”: Begin with the Chinese Modern Woodcut Movement 

… 李丁 Li Ding 

戰鬥木刻：台灣木刻版畫如何向右轉的歷史

Militant Woodcuts: A History of How Woodcuts in Taiwan Turned Right 

… 陳韋綸 Chen Wei Lun 

差異觀點：亞洲木刻小組組織形式的觀察

Differences in Perspective: Observations on the Organization of Woodcut Collectives in Asia 

… 吳君儀 Krystie Ng 

「戰後木刻藝術運動的萌芽：飯野農夫也與新居廣治」 展評 

Exhibition Review of The Budding of the Postwar Woodcut Art Movement: Iino Nobuya and Nii Hiroharu  

… 狩野愛 Ai Kano

一起嗨 —— 訪談《刺紙》的自出版實踐與木刻社群的建立 

Get High Together: Interview on the Practice of Self-publishing and Community Building by Prickly Paper 

… 李俊峰、吳君儀 Lee Chun Fung, Krystie Ng 

附錄 Appendix

紙上策展：木刻現場 

Curation on Paper: Woodcut In-Situ