{"id":3055,"date":"2019-01-17T21:50:48","date_gmt":"2019-01-17T12:50:48","guid":{"rendered":"http:\/\/www.artsmaebashi.jp\/en\/?p=3055"},"modified":"2021-01-18T15:21:09","modified_gmt":"2021-01-18T06:21:09","slug":"blaze-carved-in-darkness-woodcut-movements-in-asia-1930s-2010s","status":"publish","type":"post","link":"https:\/\/artsmaebashi.jp\/en\/?p=3055","title":{"rendered":"Blaze Carved in Darkness Woodcut Movements in Asia 1930s-2010s"},"content":{"rendered":"

Date :\u00a0<\/strong>2019.02.02(Sat) –\u00a0 2019.03.24(Sun),\u00a0 Closed on Wednesdays
Venue<\/strong>\u00a0: Arts Maebashi Gallery
Open hours<\/strong>\u00a0: 11:00-19:00\u00a0 (Last Admission 18:30)
Tickets<\/strong>\uff1aAdult \uffe5500(300), University students and over 65 years old \uffe5300.
\u3000\u3000\u3000\u3000\u3000Fares in brackets are rates for group of 10 or more.
\u3000\u3000\u3000\u3000\u3000Free entrance for high school students and Under.
\u3000\u3000\u3000\u3000\u3000Free entrance on 8 March for \u201cInternational Day for the Elimination of Racial Discrimination\u201d.
\u3000\u3000\u3000\u3000\u3000Entrance between 5pm to 6:30pm \uffe5300
\u3000\u3000\u3000\u3000\u3000Bring a stub \u201cA TAXI DRIVER\u201d,\u201d1987: When the Day Comes\u201d\u00a0at Maebashi Cinema House\uffe5300<\/p>\n

Organizers :<\/strong> Arts Maebashi, The Yomiuri Shimbun, The Japan Association of Art Museums
Co-organizer :\u00a0<\/strong>Fukuoka Asian Art Museum
Sponsors\u00a0:\u00a0<\/b>\u00a0Lion Corporation \/ Dai Nippon Printing Co.,Ltd. \/ Sompo Japan Nipponkoa Insurance Inc. \/ Nippon Television Network Corporation<\/p>\n

<\/p>\n

ABOUT THE EXHIBITION<\/strong><\/span><\/p>\n

This exhibition contains about 400 works and is the first large-scale exhibition on Asia\u2019s woodcut movements in the world. The exhibition seeks to articulate how woodcut was developed in Asia and how this small yet important media played a role in the social and historical context of the region.<\/p>\n

Carve, Print, and Post!\u2014Pioneer of SNS<\/strong>
You can create woodcuts (woodblock prints) with handy and cheap materials, and print as many copies as you like, so that you can convey your feeling and report what happens around you. The audience will grow by posting prints, hanging posters, and reproducing the images in publications. Thus the woodcut is a \u2018democratic\u2019 media both for creator and audience, which far exceeds the common presentation of artwork\u2014the woodcut is a pioneer of today\u2019s SNS.<\/p>\n

Big History Written in Tiny Prints<\/strong>
Woodcut as a \u2018democratic\u2019 media was often created and disseminated in political and social movements in Asian cities, such as those for independence from colonial rule, democratization against the dictatorship, reformation of labor situation, and the protest against environmental pollution. The woodcut has contributed in such activisms by conveying the hardship of people, disclosing problems of societies, seeking the solidarity with other communities, and mobilizing actions for better societies.<\/p>\n

Light of Humanity Cuts into the Dark World<\/strong>
Carving on wooden board produces white light on black background in printing. The woodcut as such has been an appropriate media for people who seek freedom and independence from the sheer darkness of societies. The history of woodcut in Asian cities does not only represent agony, struggle, or propaganda\u2014it is a history of liberation in the subjective expression of oppressed people.<\/p>\n

Solidarity beyond Exchange\uff1a Inter-Asian Network<\/strong>
The cultural and ethnic diversities in Asian traditional societies, as well as ideological gaps after the 20th Century, caused uncountable divisions and confrontations both domestically and internationally, which led to omnipresent tragedies. The woodcut has contributed in connecting people who lived in different communities but shared the problems far earlier than the globalization, not merely as cultural exchanges but also as a network of sympathy.
<\/p>\n

<\/strong><\/p>\n

EXHIBITION STRUCTURE<\/span><\/p>\n

<\/strong><\/p>\n

1.\u00a01930s- Shanghai: China\u2019s encountering with European woodcuts<\/strong>
Lu Xun introduced modern woodcuts by K\u00e4the Kollwitz and other European artists in Shanghai, which formed a basis for emerging woodcut movement.<\/p>\n

\uff12.\u00a01930s China and Japan: Growth of woodcut movements seeking popularization of art<\/strong>
Promoted by Lu Xun, modern woodcut developed among young Chinese artists in Shanghai, and the movements spread to other cities. In Japan, the proletarian art movement explored the popularization of art.

\uff13.\u00a01940s\u201350s Japan: Exploration of democratic art and a boom of Chinese woodcuts
<\/strong>Postwar expectation for democracy revitalized woodcut movements in North Kanto region (northern outskirt of Tokyo). More than 200 exhibitions of Chinese woodcuts were held in Japan. Workers and regional communities engaged in woodcuts in circle activities.<\/p>\n

<\/p>\n

\"\u00e2\u0091\u00a0\u00e3\u0082\u00b1\u00e3\u0083\u00bc\u00e3\u0083\u0086\u00e3\u0083\u00bb\u00e3\u0082\u00b3\u00e3\u0083\u00ab\u00e3\u0083\u00b4\u00e3\u0082\u00a3\u00e3\u0083\u0083\u00e3\u0083\u0084\u00e3\u0080\u008c\u00e5\u00af\u00a1\u00e5\u00a9\u00a6\u00e3\u0080\u008d\u00e7\u00a6\u008f\u00e5\u00b2\u00a1\u00e5\u00b8\u0082\u00e7\u00be\u008e\u00e8\u00a1\u0093\u00e9\u00a4\u00a8\u00e6\u0089\u0080\u00e8\u0094\u00b5\"\u3000\"\u2461\u6539\u30c1\u30a7\u30f3\u30fb\u30d0\u30aa\u30c1\u30a7\u30f3\uff08\u9673\u8446\u771f\uff09\u300c\u5149\u306f\u982d\u4e0a\u306b\u300d\u795e\u5948\u5ddd\u770c\u7acb\u8fd1\u4ee3\u7f8e\u8853\u9928\u6240\u8535\"\u3000\"\u00e2\u0091\u00a2-2\u00e6\u0094\u00b9\u00e3\u0080\u008c\u00e7\u008f\u00be\u00e4\u00bb\u00a3\u00e4\u00b8\u00ad\u00e6\u0097\u00a5\u00e7\u0089\u0088\u00e7\u0094\u00bb\u00e5\u00b1\u0095\u00e3\u0080\u0080\u00e8\u00a7\u00a3\u00e8\u00aa\u00ac\u00e3\u0080\u008d\u00e8\u00a1\u00a8\u00e7\u00b4\u0099\u00e3\u0080\u0080\u00e9\u00a3\u00af\u00e9\u0087\u008e\u00e8\u00be\u00b2\u00e5\u00a4\u00ab\u00e4\u00b9\u009f\u00e7\u0094\u00bb\u00e6\u00a5\u00ad\u00e4\u00bf\u009d\u00e5\u00ad\u0098\u00e4\u00bc\u009a\u00e6\u0089\u0080\u00e8\u0094\u00b5\"
<\/em>Left\uff1aK\u00e4the Kollwitz\u00a0The Widow \u2160 (Sheet 4 of \u201cWar\u201d)<\/em>, 1922-23, Collection: Fukuoka Art Museum
Center\uff1aChen Baozhen Light Overhead<\/i>, c.1932, Collection: The Museum of Modern Art, Kamakura & Hayama
Right\uff1aBrochure cover of Contemporary Chinese and Japanese Print<\/i>, 1947, Collection: Society for Preservation of Iino Nobuya\u2019s Art<\/p>\n

 <\/p>\n

\uff14.\u00a01940s\u201350s Bengal: Return our land<\/strong>
Woodcuts depicting anti-imperialism movements and peasant movements were created in Bengal (today\u2019s West Bengal [India] and Bangladesh).

\uff15.\u00a01950s\u201360s Indonesia: International exchange of woodcuts in newspaper
<\/strong>An Indonesian newspaper introduced woodcuts from Asian cities as a part of national policy to enhance Third World solidarity during the Cold War period.<\/p>\n

\uff16.\u00a0Singapore in the 1950s\u201360s: Shifting identity to the local, and woodcut as cartoon<\/strong>
Chinese artists in Singapore with a strong sense of attachment to the mainland started to find new identities in local life in a Nanyang (tropical) city.<\/p>\n

\"\u00e2\u0091\u00a3\u00e6\u0094\u00b9\u00e3\u0083\u0081\u00e3\u0083\u0083\u00e3\u0082\u00bf\u00e3\u0083\u0097\u00e3\u0083\u00ad\u00e3\u0082\u00b5\u00e3\u0083\u0089\u00e3\u0080\u008c\u00e9\u00a3\u00a2\u00e9\u00a5\u0089\u00e3\u0080\u008d\u00e7\u00a6\u008f\u00e5\u00b2\u00a1\u00e3\u0082\u00a2\u00e3\u0082\u00b8\u00e3\u0082\u00a2\u00e7\u00be\u008e\u00e8\u00a1\u0093\u00e9\u00a4\u00a8\u00e6\u0089\u0080\u00e8\u0094\u00b5\"\u3000\"\u2464\u30b9\u30cf\u30eb\u30b8\u30e4\u30fb\u30d7\u30b8\u30e3\u30ca\u30c7\u30a3\u300c\u8fb2\u6c11\u306e\u305f\u3081\u306e\u571f\u5730\u300d\uff08\u8907\u88fd\u5c55\u793a\uff09\"<\/em>
<\/em>Left\uff1aChittaprosad Famine<\/i>, 1952, Collection: Fukuoka Asian Art Museum\u3000
Right\uff1aSuhardjija Pudjanadi Land for Peasant,<\/i> from Harian Rakyat<\/i>, 25 October 1964 (exhibited in reproduction)<\/p>\n

 <\/p>\n

\uff17.\u00a01960s\u201370s Era of Vietnam War: Joint-struggle beyond national borders<\/strong>
Vietnamese folk prints depicted war subjects; a Chinese print was copied in Pakistan and the United States, as an icon of the anti-imperialism and woman\u2019s liberation struggles.<\/p>\n

\uff18.\u00a01970s\u201380s The Philippines: Art of protest against the dictatorship<\/strong>
Kaisahan<\/em>\u00a0(Unity) and other artists\u2019 groups formed in the late 70s supported the struggles of laborers and farmers against President Marcos\u2019 dictatorship.<\/p>\n

\"\u2466\u6539\u30b0\u30a8\u30f3\u30fb\u30c0\u30f3\u30fb\u30c1\u30a7\u300c\u5974\u3089\u3092\u9003\u3059\u306a\u300d\u500b\u4eba\u8535\"\u3000\"\u2467\u30ec\u30aa\u30cb\u30fc\u30ea\u30e7\u30fb\u30aa\u30eb\u30c6\u30ac\u30fb\u30c9\u30ed\u30ea\u30b3\u30f3\u300c\u8fb2\u5712\u306e\u306a\u304b\u3067\u300d\u798f\u5ca1\u30a2\u30b8\u30a2\u7f8e\u8853\u9928\u6240\u8535\"
<\/em><\/em>Left\uff1aDong Ho print The Day of Unification<\/i>, 1972 Private Collection
Right\uff1aLeonilo Ortega Doloricon [Philippines] Inside the Hacienda<\/i>(detail),2014 Collection: Fukuoka Asian Art Museum<\/p>\n

9.\u00a01980s\u20132000s Korea: Woodcuts as icons of the democratization movement
<\/strong>The Gwangju Democratization Movement in May 1980 triggered nationwide protest against the dictatorship. In this movement,\u00a0Minjung Misul<\/em>\u00a0(People\u2019s Art) developed, giving woodcuts crucial roles in an enlarged picture for rallies and demonstrations, publication, outreach program, etc.<\/p>\n

10.\u00a02000s\u2013 Indonesia and Malaysia: DIY spirit for freedom<\/strong>
Collectives formed around the collapse of the Suharto regime in 1998 accused politician\u2019s corruption and environmental crisis and supported farmers\u2019 and fishermen\u2019s struggles. With their DIY spirit, woodcuts as media revitalized, influencing artists in other parts of Asia.<\/p>\n

\"\u2468\u30db\u30f3\u30fb\u30bd\u30f3\u30c0\u30e0\u300c\u4e94\u6708-25\u3000\u5927\u540c\u4e16-1\u300d\u798f\u5ca1\u30a2\u30b8\u30a2\u7f8e\u8853\u9928\u6240\u8535\"\u3000\"\u2469\u30bf\u30ea\u30f3\u30fb\u30d1\u30c7\u30a3\u300c\u6cc9\u3092\u5b88\u308c\u300d\u798f\u5ca1\u30a2\u30b8\u30a2\u7f8e\u8853\u9928\u6240\u8535\"
<\/em><\/em>Left\uff1aHong Sungdam May-25: The World of Unity-1,<\/i> 1984, Collection: Fukuoka Asian Art Museum
Right\uff1aTaring Padi Save the Spring<\/i>, 2009, Collection: Fukuoka Asian Art Museum<\/p>\n

\u00a0<\/em><\/p>\n

\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015\u3000\u2015<\/p>\n

Art as social interaction in Asia<\/strong><\/span><\/span><\/p>\n

Within the thought of seeking the change of society, the woodcut print movement constantly found its way into people\u2019s lives and, as it brought the everyday person in, it was spread out. Even in recent years, a movement that can be called \u201cSocially Engaged Art,\u201d a movement which works to tackle social problems while working with people and the pressures on society and politics, can be seen regardless of country or region. This is not a one -side engagement, but rather it is distinctive reciprocal in which Social Interaction has come into existence.\u00a0<\/p>\n

ARTIST<\/p>\n

Irwan Ahmett & Tita Salina<\/strong>
\"tita&irwan-2\"
<\/em><\/p>\n

Irwan Ahmett and Tita Salina work and live in Jakarta, Indonesia. Studied Graphic Design at Jakarta Institute of Art (IKJ) and founded Ahmett Salina studio design and established for 16 years. Since 2010, they have produced self-initiative art projects focus on urban issue especially public space and make social and political issues as creative resources. In the last five years, Irwan and Tita have created some art works, participated in collective art projects and invited to residency programs in Indonesia, Japan, The Netherlands, New Zealand, Norway, Germany and participated in Singapore Biennale, Setouchi Triennale, Asian Art Biennale, Jogja Biennale, Jakarta Biennale.<\/p>\n


\"1001st-Island-1\"\u3000\"Irwan01\"
<\/em>Left\uff1aTita Salina,\u00a01001st Island – The Most Sustainable Island in Archipelago<\/em>, 2015, Indonesia, Video, duration 14 mins 11 secs<\/span>
Right\uff1aThe Flower Currency –\u00a0\ud1b5\ud654 (Tong Hwa)<\/em>,2017, South Korea, Video, duration 6 mins 48 secs<\/span><\/p>\n

–Notice–
We have discussed how we can solve the problem, but unfortunately Okin Collective was not able to participate the exhibition due to disagreement among the member.<\/p>\n","protected":false},"excerpt":{"rendered":"

Date :\u00a02019.02.02(Sat) –\u00a0 2019.03.24(Sun),\u00a0 Closed on WednesdaysVenue\u00a0: Arts Maebashi GalleryOpen hours\u00a0 […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10,9,16,18],"tags":[3,2],"class_list":["post-3055","post","type-post","status-publish","format-standard","hentry","category-event","category-exhibition","category-16","category-news_pickup","tag-participate","tag-watch"],"_links":{"self":[{"href":"https:\/\/artsmaebashi.jp\/en\/index.php?rest_route=\/wp\/v2\/posts\/3055","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artsmaebashi.jp\/en\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artsmaebashi.jp\/en\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artsmaebashi.jp\/en\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/artsmaebashi.jp\/en\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3055"}],"version-history":[{"count":0,"href":"https:\/\/artsmaebashi.jp\/en\/index.php?rest_route=\/wp\/v2\/posts\/3055\/revisions"}],"wp:attachment":[{"href":"https:\/\/artsmaebashi.jp\/en\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3055"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artsmaebashi.jp\/en\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3055"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artsmaebashi.jp\/en\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3055"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}