主編語
Editor-in-chief’s Note

主編語

Editor's Note

朱盈樺 CHU Yin-Hua

摘要

出版作為藝術實踐的可能

2020 年起受全球疫情影響，許多藝術文化活動尋求不同的執行途徑，例如自2009 年起舉辦的「東京藝術書展」（Tokyo Art Book Fair，簡稱TABF）改為「虛擬藝術書展」（Virtual Art Book Fair，簡稱VABF），以線上互動網頁的形式作為書展介面。除了以原先預定展場「東京都現代美術館」為網頁空間之外，也結合各式圖像提供參展路徑，包括美術館展場內部的攤位、外部延伸的戶外展演、攤位空間的擺置設計、攤位上書作品及其他延伸作品的圖像等。
 

這樣的案例反映2020 年全球藝文活動中值得注意的媒介轉向。自2006 年起紐約非營利出版單位Printed Matter 於MoMA PS1 所舉辦的「紐約藝術書展」（NY Art Book Fair，簡稱NABF），陸續帶動世界其他座城市（如東京、曼谷、倫敦、上海、新加坡等）舉辦以「城市」為名的藝術書展，其中的策展模式與細節規劃大多延續NABF 的架構。當2020 年的VABF 以「Virtual」一字取代「Tokyo」，暗示著「城市」的名字被取代⸺「虛擬」不僅稀釋了城市之間的各別差異，凸顯當代社會中全球在地化的矛盾，亦模糊線上與線下的界線。另一方面，在藝術書展中，無論是藝術家書籍、攝影書、手工書、小誌（zine）等，書籍的「紙本」實體是這類書作品的重要元素。也因此，當虛擬書展中書作品是透過網路介面呈現，書的物理特質被壓縮為螢幕像素，更回應新媒體介入對於書的翻閱與遮蔽等面向，以及影像、圖像、後攝影等多重層疊與模糊的定義。

本期專題以「出版作為藝術實踐的可能」為提問，希望透過不同研究者的觀點，集結對於當代書文化現象的論述。在深度評論部分，中國獨立策展人何伊寧以〈作為攝影書作品的照片檔案：中國當代攝影書出版中「老照片」的回聲〉為題，首先回顧中國攝影出版於2010 至今的的發展與變化，進而分析中國當代攝影書中圍繞照片檔案的創作類型，並以唐景鋒的《顏姐》與石真的《悲劇，巧合與L.L.D.M 的雙重生活》為案例。南韓攝影研究學者Nayun Jang 在〈混血的名字：1960 年代韓國影像式論文的誕生〉一文中，以朱明德（Joo Myung-Duck）的攝影書《混血的名字》（The Mixed Names）為例，探討1960 年代南韓戰後攝影情況下，《混血的名字》作為以「影像式論文」（photo-essay）形式進行的攝影專題計畫，如何透過「攝影書」形式整合文字與照片，述說官方語境中忽略的狀況。台灣研究者謝佩君的〈倦怠未來：淺談Martine Stig 的《柯西視界》裡的科幻平庸〉則以2013 年出版的攝影書《柯西視界》為例，檢視科幻類型下的攝影書當中的影像編排、印製、攝影與電影的交集，並探討科幻文類如何對現狀進行反思。另外，簡妙如〈醒醒吧！台灣龐克小誌及小誌文化政治〉文章，則企圖連結國際龐克小誌與小誌文化運動的歷史脈絡，說明小誌文化中的反抗特質，並以2000 年前後台灣龐克小誌的發展，如何在獨立音樂場域當中擴張串連，重申小誌的批判性。
 

而在專題論文部分，沈裕昌〈圖書館與肥皂箱：對《跨域讀寫: 藝術中的圖書生態學》的跨域讀寫〉以2018 年在台北市立美術館中的展覽「跨域讀寫：藝術中的圖書生態學」的出版品為出發，從該展中11 位藝術家的創作與2位策展人的策劃作為方法，分析這個以藝術出版品為主體的展覽中，其展覽出版品中「主題是展覽，但不是也不會是展覽畫冊」的提問，探討「出版作為藝術實踐」的當代意義。洪芷寧〈當製書是創作也是秀異：初探臺灣近十年「小誌」與「藝術家的書」場域內外的敘述混戰〉一文以台灣近十年來的「藝術家的書」與「小誌」為題，以文化場域概念為取徑，分析兩種不同的「製書」實踐的重疊與分野。賴雯淑〈藝術家的書在陽明交大之教學藝術實踐〉則以自身於陽明交通大學應用藝術研究所的「藝術家的書」課程為例，以教學、實作、作品面向中，探討藝術家的書在教學與創作上的思考。
 

總體而言，本期專題針對藝術場域當中圍繞「書」的文化現象，透過深度評論與專題論文的集結，希望提出後數位文化中媒介思考的更多可能性，為持續定義的多元現狀中，建立新的感知模式。1

註1 編者曾以台北為主要基地，拜訪了近年曾進行與「書」相關的實踐者，包括創作、展演、編輯、策展、出版、教學、研究等，試圖呈現2020 年前後台北「書文化」交織狀態的切面。全文以電子書的方式提供下載，作為未來繼續研究或創作的參考。參考《閱讀筆記：Book Phenomenon》，[https://www.tw-chuyinhua.com/book-phenomenon]。
　　　　　　　

Abstract

Publishing as Possibility for Artistic Practice

From the outset of 2020, many art and cultural events have been seeking alternative ways of operation due to the pandemic. For instance, the Tokyo Art Book Fair (TABF) has been named as the Virtual Art Book Fair (VABF), taking an interactive website as its site. The original venue, the Museum of Contemporary Art Tokyo, hosted the fair in an online virtual space, which also combined a variety of images to offer access to the virtual exhibition, including the booths inside the museum, the outdoor performance, the design of the booth, and the photos of books and other publications of the booths.

Such a case reflects a significant medium shift of global art and cultural events in 2020. Since 2006, the New York Art Book Fair (NABF), organized by the New York-based non-profit publisher Printed Matter, has set the trend for other cities around the world (such as Tokyo, Bangkok, London, Shanghai, and Singapore) to organize art book fairs under the name of each "city," continuing NABF's curatorial model and structure. When the name "Tokyo" was replaced by the concept "Virtual" at the VABF in 2020, it implied that the "virtual" scene diminished the divide between cities, highlighting the contradictions of glocalization in contemporary society and blurring the boundaries between online and offline activities. On the other hand, physical "paper" hard copies are crucial elements of publications in various forms in art book fairs, including artist's books, photobooks, hand-made books, and zines. Hence, when books were presented through online interfaces in a virtual book fair, the physical quality was transformed into pixels on the screen. The presentation further responded to new media intervention on the books regarding flipping and covering and the multiple and blurred definitions of images, pictures, and post-photography.

With the inquiry "Publishing as Possibility for Artistic Practice," this issue aims to bring together perspectives of diverse researchers to deliberate the contemporary book culture phenomenon. In the Featured Articles, independent Chinese curator He Yi-ning reviews the development and changes in photobooks publishing in China from 2010 to the present and analyzes the types of photo archives in contemporary Chinese photobooks in her article "Photo Archives as Photobook Works: The Echoes of ‘Old Photos’ in Chinese Contemporary Photobook publishing”. She further takes Kurt Tong's photobook Yanjie: Combing for Ice and Jade and Shi Zhen's Tragédie, Coïncidence et La Double Vie de L.L.D.M (Tragedy, Coincidence and Double Life of L.L.D.M) as case studies. In "The Mixed Names: The Birth of the Photo-Essay in South Korea in the 1960s," South Korean photography researcher Nayun Jang examines Joo Myung-Duck's The Mixed Names series concerning the development of photography in the 1960s after the Korean war. Jang explores how The Mixed Names took the form of photo-essay and revealed the situation overlooked in the official narratives with the juxtaposition of photographs and texts. Taiwanese researcher Pei-chun Viola Hsieh takes the 2013 photobook Cauchy Horizons as a case study in "The Future was Exhausted: On the Cinematic Banality of Sci-fi in Martine Stig’s Cauchy Horizons”. Hsieh investigates the intersections of layout, printing, photography, and film in sci-fi photobooks and explores how the sci-fi genre can reflect on the current situations. Furthermore, Jian Miaoju's “Wake up! Taiwan Punk Fanzine and the Cultural Politics of Zines” attempts to connect the historical contexts of the international punk zine and zine culture movement. Jian illustrates the rebellious nature of zine culture and emphasizes the criticality of zine culture by looking at the development of punk zine around 2000 in Taiwan and how the trend has expanded in the indie music scene.
 

As to Research Articles, in “Library and Soapbox: A cross-domain reading into Cross-Domain Reading & Writing: A Biblio-ecology in Art,” Shen Yu-Chang starts from the 2018 exhibition Cross-Domain Reading & Writing: A Biblio-ecology in Art in Taipei Fine Arts Museum to analyze the contemporary significance of “publishing as an artistic practice”. He employs the works of eleven participating artists and the curatorial methodology of the two curators to scrutinize the inquiry the role of exhibition publications that “feature exhibitions but do not serve as exhibition catalogues”. In “Publishing as Artistic Practices as a Form of Creativity and Distinction: An Investigation on the Narrative Disarray Inside and Outside of the Fields of “Xiao Zhi” and “Artists’ Books” Throughout the Past Decade in Taiwan” Hong Tze-Ning focuses on “artist’s books” and “xiao zhi” (zine) practices in the past decade in Taiwan, using the concept of cultural fields as the approach to distinguish the two practices. Lai Wen-shu adopts her course on “artist’s books” at the Institute of Applied Arts, National Yang Ming Chiao Tung University to explore the concept of artist’s books in the context of teaching, practices, and artmaking in “The Teaching and Art Praxis of Artist’s Books at NYCU”.
 

In general, this issue focuses on the cultural phenomenon surrounding “books” in the art scene. Through a collection of in-depth commentaries and essays, we aim to propose possibilities for media thinking in the post-digital culture and establish new modes of perception in diverse situations that continue to be defined.¹

[1] The chief editor has interviewed practitioners who have been involved in book-related events in recent years, including bookmaking, exhibition, editing, curating, publishing, teaching, and research, in an attempt to present the “book culture”scene in Taipei around 2020. The full text is available for download as an e-book, a reference for further research. See Book Phenomenon, https://www.tw-chuyinhua.com/book-phenomenon.　　

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圖書館與肥皂箱：對《跨域讀寫：藝術中的圖書生態學》的跨域讀寫

Library and Soapbox

沈裕昌 SHEN Yu-Chang

東海大學美術系兼任助理教授

Adjunct Assistant Professor, Department of Fine Arts, Tunghai University

摘要

出版作為藝術實踐，在今日如何可能？本文將問題拋向簡麗庭與柏雅婷在臺北市立美術館共同策劃的展覽「跨域讀寫：藝術中的圖書生態學」，以十一位藝術家的「創作」與兩位策展人的「策劃」作為方法，重新思考「出版做為藝術實踐」在當代的意義，並探索其可能性。本文認為，思考此一問題最合宜的研究對象，莫過於「主題是書，但不是也不會是書展」的展覽所發行的「主題是展覽，但不是也不會是展覽畫冊」的出版品。因此，本文以《跨域讀寫：藝術中的圖書生態學》作為研究對象，以「跨域讀寫」作為研究方法，嘗試針對展覽出版品中的所有作品，進行創造性的閱讀，希望透過「跨域讀寫」擾動我們對於「書」的既有概念邊界，並重啟可能的想像。

Abstract

In this 21st century, how do we realize art practice in publication? This particular question in this study would be investigated from the exhibition, Cross-Domain Reading & Writing: A Biblio-ecology in Art, held in Taipei Fine Arts Museum. In this exhibition, the unorthodox art creation from eleven artists and the strategic planning from two curators are adopted to rethink the contemporary meaning of “art practice in publication” as well as to explore its potentiality. The most pertinent research object of this study is the publication, “The topic is the exhibition but the exhibited painting album” published for the exhibition, “The topic is the books but the book fair”. Thus, “cross-domain reading & writing” is employed to analyze the research object in this study, “Cross-Domain Reading & Writing: A Biblio-ecology in Art”. It’s an attempt to stir the established concept of “books” and broaden the sphere of imagination via creative reading into the artworks listed in the publication of “Cross-Domain Reading and Writing”.
 

關鍵字：出版、藝術實踐、跨域讀寫、書

Keywords: publishing, art practice, cross-domain reading & writing, books

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當製書是創作也是秀異： 初探臺灣近十年「小誌」與「藝術家的書」場域內外的敘述混戰

Publishing as Artistic Practices as a Form of Creativity and Distinction

洪芷寧 HONG Tze-Ning

獨立研究者

Independent Researcher

摘要

近年來（2011-2021）在臺灣愈發可見以紙本為創作載體的「小誌（Xiao Zhi）」與「藝術家的書（Artists’ Books）」兩者同時出現於文化生產場域，如展覽或藝術書展（Art Book Fair）及相關交流，兩個文化生產場域的公開敘述亦日益蓬勃。

以臺灣現有研究述之，「小誌」名詞是約2013 年時命名典範的轉移結果，其脈絡與獨立刊物、zine 在臺灣近年的發展有關，而在文化生產場域內則多以不定義、不分類作為推廣的方式；與此同時，臺灣「藝術家的書」的研究與推廣則多以創作個案為主。而近十年來，兩個文化生產場域漸有系統化討論的趨勢。然而，在兩個文化生產場域於社群、行動者、和面對創作及定義的差異前提下，因出現部分媒體與推廣者於公開敘述強化秀異，與過往場域內強調不分類等慣習不同，形成概念混雜的敘述混戰現象。
 

本文遂以文化場域概念為取徑，藉近十年「小誌」與「藝術家的書」的相關公開敘述，探看場域的變動，釐清公開敘述中的常見概念，並提出公開論述之於當代藝術的意義。期以將臺灣現有「小誌」和「藝術家的書」領域的研究與討論，納入當代藝術「製書」的評論或觀看中，豐富實踐的想像與未來討論的語言。

Abstract

In recent years (2011-2021), paper-based “Xiao Zhi” and “Artists' Books” have both appeared in the cultural fields, such as exhibitions and art book fairs, as well as related platforms for exchange. In addition, the open narratives between the two cultural fields have also increased.
 

According to current research in Taiwan, the term “Xiao Zhi” results from a naming paradigm shift around 2013 and is related to the recent developmental context of independent publications and zine in Taiwan. Inside the field, “Xiao Zhi” is promoted by not defining or categorizing the term. Throughout the past decade, the research and promotion of “artists’ book” have mainly focused on individual creative cases, while there are traces that the term is being discussed in a more systemized manner. However, due to insuffcient open critique in the past and burgeoning open narratives in recent years, discrepancies have appeared between the two cultural fields when mentioned by communities, activists, as well as when facing the creative act and definitions, which leads to parts of media and promotors emphasizing distinction in public discourses; this is different from the former approach where the two are not categorized within the field and has resulted in narrative disarray.
 

This paper adopts the concept of Cultural Field and explores the public discourses regarding “Xiao Zhi” and “artists’ books” during the past ten years to investigate the changes in the field, clarify the common concepts that appear in public narratives, and propose the value of public discourse in contemporary art. The discourse is structured with the hopes that current research and discussions on “Xiao Zhi” and “artists’ books” in Taiwan will be included in the evaluation and observation of “publishing as artistic practice” in contemporary art and enrich future practices and discussions.

關鍵字：小誌、zine、藝術家的書、文化場域、秀異

Keywords: Xiao Zhi, zine, artists’ books, cultural field, distinction

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藝術家的書在陽明交大之教學藝術實踐

The Teaching and Art Praxis of Artist’s Books at NYCU【1】

賴雯淑 Wen-Shu LAI

國立陽明交通大學應用藝術研究所副教授

Associate Professor, Institute of Applied Arts

摘要

藝術家的書處於各種學科領域、思想、藝術類型活動的交會處，但不受其中任何一種的限制，它於20 世紀出現，有豐富多重藝術樣態，同時保有其自身獨特的藝術範疇。作為當今藝術實踐的路徑之一，隨著歷史脈絡而有許多轉折與樣態，理解它的視角也因其發展之時代背景與著眼點而各異。藝術家的書作為意義與內容的載體，具有「意義─書─內容」的辯證關係，除從實體的製作來進行分析，更需從藝術家本身的意圖來進行理解。有些藝術家的書是單一原作，有些是透過網路或印刷進行複本傳播；有些則是導入異質性觀念，以媒材或行動為手段，企圖叛逃、顛覆既有分類、形式、結構，指向域外。對一本藝術家的書的理解常介於藝術家的書、隱身於此書中的藝術家及其意圖、以及讀者三方之間，而這些都跟創作當下的時空脈絡、藝術家本身的訓練或意圖有密切關聯。本文將聚焦在當今台灣的時空語境下，觀察和梳理「藝術家的書」作為藝術實作課程，如何啟動藝術家的書之教學與相關的創作實踐。以筆者開設於陽明交大應用藝術研究所的兩門課「藝術家的書」與「藝術家的書＿進階篇」為研究對象，探究以教學來推進藝術家的書之藝術實踐，給出何種前進路徑？本文將從：一、藝術家的書的意義之擴延，二、藝術家的書的課程架構思維與創作技法，三、藝術家的書的展覽，四、藝術家的書的課程作品案例分析，來展開回顧與討論，亦即從藝術家的書的意涵、教學實作、展覽、作品分析四個方面切入，來探究兩門課程之教學與藝術實踐路徑，以及從中所給出的觀點。

Abstract

Artists’ book is the 20th-century art form. It is a zone of activity made at the intersection of a number of different disciplines, fields, and ideas—rather than their limits. As one of the paths of art praxis, the artist’s book has many turns along with its historical context. It needs to be understood from the artist's intentions as well as the work of itself since it has a dialectical relationship with the artist and its readers. We can discuss Artist’s books from several dimensions such as the production, media, binding, and printing of books, or discuss the creative philosophy and distinctive signature of a book artist’s oeuvre from the angle of the artist’s professional training. Some artist’s books are the only existing copies. Instead of being published and produced massively, they are intended to topple the conventional idea, form, and structure of books by introducing heterogeneous concepts and media. The understanding of an “artist’s book” often lies between the artist’s book, the artist and his intentions hidden in the book, and the readers. It covers the conceptual, material, technical, and spiritual aspects of the book. Also, these are closely related to the artist’s own training or intentions. This paper seeks to investigate how artist’s books appear as an approach of artistic praxis in related fields in Taiwan, and what possibilities this approach can offer, with a special focus on two courses—“Artist’s Books” and “Advanced Artist’s Books” offered by the author at the Institute of Applied Arts, NYCU since 2011. This paper proceeds in accordance with the four major topics that underpin the two courses. They are: the expending meaning of the artist’s books, the curriculum thinking and innovative techniques of the artist's books, the exhibition of the artist's book, and the analysis of the works of the artist’s books. In sum, this paper elaborates on the praxis of “artist’s books” from the aspects of the meaning of the artist’s books, teaching praxis, exhibition, and work analysis. From above, this paper will clarify what teaching and art praxis paths that the two courses offer, and the insights derived from them.

關鍵字：藝術家的書、藝術實踐、藝術家意圖、教學實踐

Keywords: Artist’s books, art praxis, artist’s intention, teaching praxis

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作為攝影書作品的照片檔案： 中國當代攝影書出版中「老照片」的回聲

Photo Archives as Photobook Works

何伊寧 HE Yining

獨立寫作者、策展人

Independent Writer, Curator

摘要

在近十年間中國攝影書出版中，圍繞照片檔案所展開的攝影書作品豐富且多元。這些實踐包括但不僅限於藝術家針對家庭相冊的再編輯，或是針對某一特定地點或歷史事件的重新挖掘，體現了這些藝術實踐者試圖利用照片檔案在當下與歷史、記憶之間搭建聯繫的可能性。本文首先針對近年來中國攝影書出版的時代背景進行簡要介紹，繼而就當下圍繞照片檔案進行創作的攝影書作品類型、產生這一趨勢的原因進行概括和分析。最後，文章將試圖通過對兩個創作案例的考察，思考實踐者是如何通過在頁面之間的邏輯架構，將照片檔案與特定歷史時間和空間產生關聯。

Abstract

In the last decade, a rich and diverse body of photobook works based around photographic archives is getting published in China. These practices include, but are not limited to, the re-editing of family albums by artists, or the re-excavation of a particular place or historical event, reflecting the different possibilities of these artistic practitioners in their attempts to use photographic archives to establish connections between the present and history and memory. The paper begins with a brief introduction to the contemporary context of photobook publishing in China in recent years, followed by an overview and analysis of the types of photobooks currently created around photographic archives and the reasons for this trend. Finally, it attempts to consider how practitioners relate photographic archives to a specific historical time and space through a logical structure between pages by examining two cases of creation.

關鍵字：照片檔案、攝影書出版、歷史敘事

Keywords: Photo Archive, Chinese Photobook Publishing, Historical Narrative

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混血的名字： 1960 年代韓國影像式論文的誕生

The Mixed Names: The Birth of the Photo-Essay in South Korea in the 1960s

Nayun JANG

Research Associate Professor, Critical Global Studies Institute, Sogang University, Seoul, South Korea

摘要

本篇論文探討朱明德（Joo Myung-Duck）《混血的名字》系列攝影作品及其攝影書，與朝鮮戰爭前後韓國攝影運動的演變發展之關聯，並分析韓國攝影界在1960 年代的典範移轉。當時的攝影師開始以特定主題進行創作，並以系列攝影作品對該主題進行深入分析，試圖跨越諸如「砂塵沙龍」和「日常主義」等此前攝影運動的侷限。本文旨在彰顯韓國史上第一部影像式論文《混血的名字》之意義，本作首見以影像式論文之形式發表系列攝影作品，亦闡明攝影書如何並陳照片和充滿情感的文字，以有力地傳達攝影師的創作意圖。本文更近一步指出，朱明德透過該系列作品和影像論文喚醒人們對官方論述中忽略的混血戰爭孤兒之記憶，進而使觀眾產生內疚感和責任感。

Abstract

This essay examines Joo Myung-Duck’s The Mixed Names series and the photobook in relation to the evolution of photography movements in South Korea before and after the Korean War. It analyses the shift in the country’s photography scene in the 1960s, when creating a series of photographs began to be discussed as a way of presenting an in-depth analysis of a topic and overcome limitations of the preceding photography movements, such as Salon Sajin and Saenghwal Juui photography. The essay aims to demonstrate the significance of The Mixed Names as the first-ever photographic series that took the form of a photo-essay, and it explains how the photobook powerfully
delivered the photographer’s intention by affective juxtapositions of photographs and emotional texts. It also points out how the series and the photobook were designed to engender a sense of guilt and responsibility in viewers by re-enacting memories of mixed-race war orphans neglected in the offcial narratives.

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倦怠未來： 淺談Martine Stig 的《柯西視界》裡的科幻平庸

The Future was Exhausted: On the Cinematic Banality of Sci-fi in Martine Stig’s Cauchy Horizons

謝佩君 Pei-chun Viola HSIEH

紐約州立大學賓漢頓分校藝術史所博士候選人

Doctoral Candidate in Art History, SUNY-Binghamton

摘要

出版於2013 年的攝影書《柯西視界》起始於藝術家史提格（Martine Stig, 1972-）對科幻電影之視覺語言的調查。走訪四個文化有別的城市：突尼斯、深圳、日內瓦與雅典，史提格藉由援引科幻電影形式來將鏡頭下的此時此刻轉化成未來。透過細讀與翻閱史提格的《柯西視界》，本文試圖檢視科幻類型下的攝影書：一方面藉由《柯西視界》一書（與其2013 年荷蘭海爾倫玻璃宮個展同名）中的影像編排與印製，爬梳影像在作為作品展示、投影之外，自十九世紀廣泛流通以來，與書本不可分割的脈絡，以及攝影書和電影交集大於分離的關係；另一方面以史提格化當下於未來、轉記實於幻想的影像建構，探討科幻作為一類型，如何是對現狀的反思，並潛在的促成了反奇觀式的未來。

Abstract

The photobook Cauchy Horizons is a collection of the artist Martine Stig’s investigation into the language of science fiction cinema. Across four cities: Tunis, Shenzhen, Geneva and Athens, Stig aims to achieve a visual resemblance from the classic Sci-fi’s films to capture the present for a photographic fact of future. Flipping through these monotonous and even uninspiring pages of photographs, Cauchy Horizons shows an exhaustion both in the composition of camera and our imagination to future. Taking a cue from this visual exhaustion, this essay proposes a critical reading toward the Scifi as a genre in image production. It will begin by tracing the historical alinement between the photographs and printed book, and end with a suggestion on how this photographic exhaustion is in fact an anti-spectacle gesture to the exploitation of Sci-fi images.

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醒醒吧！台灣龐克小誌及小誌文化政治

Wake up! Taiwan Punk Fanzine and the Cultural Politics of Zines

簡妙如 JIAN Miaoju

國立中正大學傳播學系教授

Professor, Department of communication, National Chung Cheng University

摘要

本文重現台灣曾在2000 年初出現的龐克小誌風潮，並連結國際龐克小誌到小誌（zine）文化運動的歷史脈絡，檢視小誌的文化政治意涵。本文一方面回顧國際文獻，說明小誌文化所具有的反抗性特質，包括挑戰主流文化、建立另類社群，以及全球反抗政治。另一方面，本文重建2000 年前後本地龐克小誌的崛起歷程，檢視龐克DIY 文化如何被引介，如何在獨立音樂場域中萌芽、擴散並彼此串連的過程。本文認為，晚近小誌文化運動，已逐漸多元、平易化，但由龐克小誌、音樂迷小誌作為認識入口，或可提供另一視角，重拾小誌、熱愛者文化的反抗性政治潛能。小誌的反抗性，正在於將小誌人由政治客體轉為政治性主體，在小誌大爆發的當下，值得重新喚醒。

Abstract

This article explores the first wave of punk fanzine in Taiwan that appeared in the early 2000s. The author intends to link the origins of the international punk fanzine to the evolution of the zine movement in the Western countries, and to especially focus on the cultural and political implications of the resistance politics of the global punk zine. On the one hand, it reviews the rebellious nature of the zine culture which includes the challenging mainstream culture, establishing alternative communities, and the global resistance politics. On the other hand, it reconstructs the rise of the local punk fanzines around 2000, and examines how the punk DIY culture was introduced and how they sprouted, spread, and connected with each other within the independent music scene. The author argues that the emerging zine cultural movement since 2010 has gradually become diversified and the content has become easier to understand. However, using the developing history of the local punk zines and indie music fanzines as the entrance to better understand the current zine culture may provide another perspective. This article tries to bring back the resistance politics of the nature of zine culture and the political empowerment potential of the fans. The resistance nature of zine culture is turning zinesters from a passive political object to an active political subject. At a moment when zine culture has exploded in Taiwan, it is worth reawakening the resistant ethos of the punk fanzine and zines.

關鍵字：龐克小誌、迷小誌、小誌、DIY 文化、反抗政治

Keywords: punk zine, fanzine, zine, DIY culture, politics of resistance

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