Cultural Semiconductors—a conversation with cultural policy researcher Chun-Ying Wei about Taiwan and Lithuania’s current relationship

In a world where geopolitical tensions blaze across digital screens, the intersection of culture and technology has grown ever more critical in shaping international relations. As part of my seven-month-long research journey into ArtTech ecosystems in Taiwan, I’m exploring Taiwan’s cultural policy and diplomacy, with a keen focus on the significant role played by the Tech industry in this dynamic landscape.

Ieva Gražytė: Taiwan, an island with a complicated history and mixed heritage, has experienced the rise and fall of colonialism, as well as the emergence and demise of authoritarianism due to its strategic position and geopolitical significance. From the seventeenth century onwards, Taiwan has been controlled by Dutch, Spanish, Chinese and Japanese rulers. Having experienced these multicultural impacts, Taiwan is currently facing the threat of authoritarian China and the possibility of a military invasion. I see the attempt to avoid authoritarian regimes and the search for artistic autonomy as the key points to which Taiwan and Lithuania relate. What are some other points of relation you see?

Chun-Ying Wei: Of course, a surge of artistic autonomy is very important but that probably falls under the broader scope of what we call freedom of expression. In past years, we have seen cases like Ai Weiwei, who was suppressed by the Chinese government, which sends a message that artistic freedom is not something to be taken for granted. We cherish and want to maintain our democratic system, everyday life and freedom of speech, which Lithuania also understands due to its historical circumstances. I remember what Gabrielius Landsbergis said in 2021, ‘Freedom-loving people should look out for each other!’. It shows that we both cherish this mutual value we seek.

IG: Cultural exchanges and discussions are an integral part of close diplomatic relations between Lithuania and Taiwan but precedents of cultural, especially inter-institutional exchanges, are still quite rare. I went to see the ‘Independent Taiwanese Documentary’ film programme at the Skalvija cinema in Vilnius, organized by the Asian Art Centre. I was also pleasantly surprised that Steph Huang and her film ‘A Great Increase In Business Is On Its Way’ won one of the main prizes at the 2022 Taipei Art Awards, since she was a resident at Nida Art Colony a few years ago and the Lithuanian contemporary art scene is familiar with her. Why do you think, as of yet, we don’t have sustainable cultural relations? Could the lack of official diplomacy be the reason, or the non-existence of cultural attachés in each other’s countries?

C-YW: Although it will take time to achieve significant progress, in recent years, we have witnessed efforts being made to strengthen cultural relations and diplomacy between Taiwan and Lithuania. It is worth considering the historical context of Taiwan, particularly its status as a non-member of the United Nations due to the One China policy. As a result, Taiwan only has a limited number of official allies; as of 2023, the total is 13. Cultural diplomacy has been seen as an alternative to official diplomacy in this situation. Taiwan has established cultural centres in various cities such as New York, Paris and Tokyo, strategically utilising cultural activities as a means of maintaining relationships and presence in those regions. These cultural centres serve as platforms for less sensitive and controversial interactions, providing opportunities for diplomats and officials to engage with their counterparts.

Since 2012, when the Council for Cultural Affairs merged with the Government Information Office to form the Ministry of Culture, there has been a gradual increase in overseas cultural centres. However, the process of establishing cultural attaché positions can be challenging due to negotiations with host countries and limitations on personnel quotas within representative offices. These negotiations are often conducted behind the scenes and are not made public until they are successful. Nevertheless, progress is being made, albeit slowly. I am glad to see Steph Huang’s work reaching Lithuania. It shows that cultural centres can act as intermediaries to introduce great works from Taiwan. Her work captured the daily life of the markets she visited and reflected on capitalism. This is something viewers from different countries can relate to.

IG: Moving on to the topic of digital diplomacy and internet diplomacy, recent reports have highlighted Taiwan’s significant interest in digital art, particularly concerning NFTs (non-fungible tokens). The Basel Art Market report revealed that Taiwan had the highest share of digital art in collections (21%) and the highest percentage of digital art associated with NFTs (14%). What could be the reasons behind Taiwan’s enthusiasm for digital patronage?

C-YW: There are several factors contributing to Taiwan’s interest in digital patronage. Firstly, Taiwan is a country that is highly adapted to digital tools and a digital way of life. In terms of NFTs, they provide a digital investment tool, which appeals to Taiwanese collectors. Another factor is the scarcity of physical space in Taiwan. The island is characterized by its mountainous terrain and densely populated areas, leaving limited space for both living quarters and art institutions. Digital collections offer a way to own artwork without the need for physical space, making them an attractive option in the Taiwanese context.

IG: At the same time, Taiwan’s economy heavily depends on the tech industry, which contributes to around 40% of its GDP, and this reliance exposes Taiwan to the risks of worldwide economic downturns, highlighting the need for exploring alternative paths to enhance national competitiveness across multiple fronts. I think Taiwan sees technologies and the internet as potential equalisers for the economy, as well as the art field. You even have a Minister of Digital Affairs, Audrey Tang, who just happens to be my favourite Taiwanese politician. So how important is the tech industry for cultural policy and diplomacy?

C-YW: When discussing the tech industry’s role in cultural policy and diplomacy, two notable cases come to mind. The first example is TSMC, a well-known company renowned for its microchip production. For a considerable period, TSMC sponsored one of the Literature Awards events, showcasing the inclination of tech companies in Taiwan towards practising corporate social responsibility. In Taiwanese mainstream society, there are initiatives to incorporate support for the arts as part of this responsibility. By doing so, these companies can receive tax exemptions and realise their corporate social responsibility through cultural patronage, which the cultural policy in Taiwan encourages.

Another noteworthy example is Delta Electronics, a global provider of power and thermal management solutions. Last year, they collaborated with the Asia University Museum of Modern Art on a sustainable energy project that involved providing sustainable energy for an exhibition held at the museum within the school’s premises. Hence, tech companies in Taiwan also contribute to the arts through corporate social responsibility initiatives.

The work of Audrey Tang and her role as Minister of Digital Affairs seems somewhat separate from the activities of tech companies. She is a scientist and Taiwan’s first nonbinary cabinet member. Tang’s unique personal experiences, identity and charisma enable her to connect with people and promote cross-cultural dialogue. Her international exposure contributes to Taiwan’s global presence and helps to promote Taiwan’s democracy, which is a fascinating aspect of cultural diplomacy.

IG: While nowadays the Internet is an important tool for cultural diplomacy, the symbolic decentralisation of power and the exposure of culture, this conversation would have never happened online, so I tend to see technologies as accelerators of our physical lives. Thank you so much, Chun-Ying.

Dr Chun-Ying Wei received her PhD from Goldsmiths, University of London. She currently works as an assistant professor at the Graduate Institute of Arts Management and Entrepreneurship of the National Sun Yat-Sen University in Kaohsiung, Taiwan. Chun-Ying also serves as a board member of the Taiwan Association of Cultural Policy Studies (TACPS).

The interview has been edited for clarity.
Photos from the author’s personal archive.