Taiwanese Artworld: Cultural Nationalism and Independent Art Spaces

Taiwan, historically characterized by a profound identity complex and diplomatic isolation, has always utilized art as a conduit for unofficial communication, identity exploration and representation, and as a political tool for the rewriting of history. Cultural nationalism has greatly slowed down the integration of modernity in Taiwanese art. Since the 1980s, due to the resistance of mainstream institutions to the avant-garde, Taiwanese artists created their own network of independent art spaces. This parallel sphere circumvented nationalist influences present in museums and cultural policies, enabling Taiwanese art to attain global standards of innovation and contemporaneity. Currently, Taiwan's domestic art scene constitutes a delicate yet functional ecosystem. Institutional art has embraced contemporaneity, yet often remains subservient to cultural diplomacy. Independent spaces serve as vital incubators for young talents, fostering experimentation between academia and the market, while facilitating international dialogue and connecting art with Taiwanese society, territory, and local communities. The dialogue between institutional and alternative art is crucial for the integrity of art ecology. The present thesis aims to delve into the often-overlooked Taiwanese independent art world—its genesis, significance, contemporary role, distinctive features, functioning mechanisms, and its interface with institutional culture and government. Emphasizing the latter, the thesis endeavors to illustrate that the Taiwanese independent art world, rather than being constrained by identity complexities or governmental agendas, is subject to global threats, that are capitalism and the commodification of art.