Gwangju Biennale Sparks Taiwan Protest Over Sensitive Strait Terminology

The Gwangju Biennale is a major contemporary‑art event in Asia, held every two years and drawing artists, curators and art enthusiasts from around the world. This year’s Biennale is scheduled to open in September, but a concerning incident has emerged. According to reports, the electronic promotional material for participating artists does not contain the word “Taiwan”; instead, the English name of the National Museum of Fine Arts is used as the label for the Taiwan pavilion. The omission has prompted concern and protest from Taiwan.

Taiwan’s Ministry of Foreign Affairs responded today, saying the Busan office has sent a letter to the organizers expressing Taiwan’s protest and dissatisfaction. The ministry added that it is currently in talks with the curatorial team and the Gwangju city government, hoping to resolve the issue promptly. The incident is not unexpected; in recent years the naming of Taiwan in international venues has repeatedly become a flashpoint. According to the cross‑strait situation, Beijing has consistently resisted the use of the term “Taiwan” and has sought to replace it with “China Taiwan” or “Chinese Taipei” in various international settings, aiming to dilute Taiwan’s sovereign status and international presence.

Consequently, the occurrence at the Gwangju Biennale is effectively part of Beijing’s long‑standing strategy toward Taiwan. Faced with this situation, Taiwan cannot remain passive. The ministry’s protest and negotiations are intended to safeguard Taiwan’s sovereignty and dignity. It is noteworthy that the Biennale is an artistic event, and art should transcend politics; however, when political factors are deliberately introduced, artists and curators must confront this reality. The incident has also drawn attention and discussion within the art world and broader society, prompting reflection on how to preserve artistic independence and freedom under political pressure.

In this case, the attitudes and positions of the Gwangju city government and the curatorial team will significantly influence the development of the issue. As organizers, they have a responsibility to protect the rights and dignity of participating artists and should not sacrifice artistic principles and values under political pressure. At the same time, Taiwan needs to continue negotiations and communication with the organizers to secure the right to use the name “Taiwan,” thereby protecting its sovereignty and dignity.

The incident also reflects that Taiwan’s participation and presence in international forums continue to face many challenges and difficulties. Beijing’s political pressure and interference remain a major obstacle to Taiwan’s diplomatic work. Consequently, Taiwan must keep striving to gain understanding and support from the international community, safeguarding its sovereignty and dignity. Taiwan also needs to strengthen its own capabilities and influence to increase its participation and impact in international arenas, thereby better protecting its interests and rights.

Support and solidarity from the art community and broader society are crucial for Taiwan in this matter. Public attention and discussion will help raise international awareness and understanding, supporting Taiwan’s participation and existence in global venues. Therefore, Taiwan must continue communicating and negotiating with the international community to garner more support and comprehension, defending its sovereignty and dignity. This incident shows that Taiwan’s involvement in international settings still encounters many challenges, but through collective effort and support, Taiwan can overcome these difficulties and uphold its sovereignty and dignity. (Source: Central News Agency)