相對於由共同立場或價值觀構成的「共識」，法國哲學家洪席耶 (Jacques Rancière）提出 「異識」(Dissensus) 此一概念，以作為干擾「文化霸權」運作的可能。這一期《亞際木刻圖 繪》以此為題，與讀者一同探討藝術家如何藉由「異識」介入不同地域的個案，從而提供另 一種思考權力運作的角度。 

Different from understanding politics as an entity consisting of common positions or values, dissensus emphasizes the existence of difference itself as the condition that constitutes politics. This issue borrows the idea of dissensus suggested by French philosopher Jacques Rancière, to propose the aesthetical potential of dissenting opinions as a way to interfere with cultural hegemony. By examining cases in different regions, we hope to leap out from the framework of consensus politics and explore how artists intervene with dissensus in reality, providing another perspective for us to think about the operation of power structure in our society.

目錄 Contents 

作為「異識」的藝術實踐 //編輯部 

Dissensus as Art Practice //Editorial Team 

撥開「稻米獠牙」的「反猶主義」疑雲 //陳韋綸 

Dispelling the Anti-Semitism Suspicions around Taring Padi //Chen Wei-lun 

懷抱一九八〇年代而活：紀念「六月鬥爭」三十五週年邀請展《李相浩・解剖歷史》//稻葉真 以 

Living with the 1980s: Lee Sang-ho: Dissecting the History An Invitational Exhibition Commemorating the 35th Anniversary of the June Struggle //Mai Inaba 

紙上策展：爭議之後 //狩野愛 

Curation on Paper: After the Controversy //Ai Kano 

發出自己的聲音，然後再擴散：「木刻波流」訪談 //吳君儀 

Make Our Own Voice and Spread it: Interview with Woodcut Wavement //Krystie Ng 

世界上的苦難不是我們獨有：「版畫為民眾」訪談 //吳君儀 

Oppressions are not Endemic: Interview with Printmaking for the People //Krystie Ng 

我們希望自己的作品能成為抗議現場的戰鬥工具：「Dis-Print Kultur」訪談 //陳韋綸 We Want Our Artwork to be Used as a Tool to Fight in the Field: Interview with DIS-PRINT KULTUR //Chen Wei-lun