• 프린팅코리아
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• v.13 no.10
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• pp.116-117
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• 2014

현대사진예술의 흐름을 한눈에 볼 수 있는 국내 최대 사진축제인 '2014 대구사진비엔날레'가 9월 12일부터 10월 19일까지 대구문화예술회관, 대구예술발전소, 봉산문화회관 등 대구시내 일원에서 열린다.

• The Journal of the Korea Contents Association
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• v.18 no.4
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• pp.245-253
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• 2018

The purpose of this research is to analyze how the transformation of Gwangju Biennale policy change their exhibitions. The research analyzed the Gwangju Biennale Declaration which announced upon the foundation of Biennale, as well as the following development plans to examine how the Biennale's aim has changed. There're any Biennale which has the declaration except Gwangju. We can see the keywords of art criticism at that time in the declaration and the innovations suggested on the 20th anniversary of Gwangju Biennale. This research shows the 20 years development of the declaration of Gwangju Biennale which visualize Gwangju spirit achieved more universal expansion by displaying artworks. The achievement of Gwangju Biennale which universalize the Gwangju spirit and expansion of community art parallelize the development of Korean contemporary art.

• Digital Contents
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• no.1 s.140
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• pp.100-101
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• 2005

세계적인 미디어 예술 축제로 자리를 잡아가고 있는 서울 국제 미디어아트 비엔날레(미디어 시티 서울 2004)의 막이 올랐다. 올해로 3회를 맞은 이 비엔날레의 주제는 '게임,놀이' 15일 개막해 오는 2월 6일 까지 40여일 동안 서울시립미술과 전관과 서울시 일대에서 펼쳐진다. 이번 비엔날레에서는 우리 일상생활에서 경험하는 게임과 놀이의 각종 게임과 유희에 담긴 사회문화적 메세지들을 총체적으로 살펴볼 수 있는 자리다.

• 프린팅코리아
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• v.12 no.10
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• pp.104-105
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• 2013

'타이포잔치 2013: 서울 국제 타이포그래피 비엔날레'가 8월 30일 개막식을 시작으로 10월 11일까지 문화역서울284(구 서울역사)에서 열린다. 이 행사는 문화체육관광부(장관 유진룡)가 주최하고 (재)한국공예디자인문화진흥원과 한국타이포그라피학회 공동 주관으로 진행된다. 특히 10월 8일에는 '한글날 전야제'가 문화역서울 284, RTO 공연장에서 열린다.

• Journal of the Korean association of regional geographers
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• v.13 no.5
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• pp.543-562
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• 2007

Busan Biennale, began from 2000, has been argued that it would improve 'intrinsic introspection related to localism' against 'a lifestyle forced by capitalism in a global dimension', by promoting urban esthetic imagination in the public sphere of the city and reflecting it upon exhibited artworks. But Busan Biennale seems to reflect partly an attempt for new place marketing or urban reimagineering as a part of postmodern culture, even thought it has been planned to be an authentic stage or public-place art for citizens. This paper is to examine Busan Biennale 2006, held from Sep.16 to Nov.25 in Busan main theme of which is 'everywhere', constituted with three major projects: the Contemporary Art Exhibition, Sea Art Festival, and the Busan Sculpture Project. Ths paper considers first some implications of the transformation of modem to postmodern city, focusing on spatial representation of the city and public place art, and then tries to evaluate whether Busan Biennale is really embedded in the local authenticity and esthetic imagination for citizen or not. As concluding remarks, this paper suggests that Busan Biennale would be continuously developed, when it is oriented more towards local public-place art for citizens with their active participations rather than towards urban reimagineering strategy to make and promote an image of Busan as a global city.

• Korean Association of Arts Management
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• no.50
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• pp.177-212
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• 2019

In an effort to understand the global standing of artists from Japan, China, and Korea, this article presents an analytic study of data from auctions, notable international contemporary art galleries, notable international art museums, contemporary art biennials, and the Venice Biennales' award. We also look at select art exhibitions as they have been covered by international art magazines to analyze the geography of international contemporary art. Our analysis of international art magazines shows that the global position of the three Asian countries we consider is low in comparison with select Western countries. Auction data, on the other hand, reveals that Chinese and Japanese artists are highly regarded in economic terms, while the visibility of Japanese artists is emphasized in the data we consider from art biennials. In the permanent exhibitions and contemporary art biennales we look at, we note that the visibility of Chinese artists is much higher than that of Japanese and Korean artists, who also demonstrate remarkable visibility. We find that Korean artists represent an important presence in our analysis of the Venice Biennale awards, with Japanese and Chinese artists holding noteworthy positions. Through these myriad criteria, we develop a clear idea of the nature of the global position of artists from Japan, China, and Korea. The Asian art world can profit from these findings by considering them when developing strategies for managing the growth of its artists on the international contemporary art scene.

• 프린팅코리아
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• v.10 no.10
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• pp.110-113
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• 2011

한국, 중국, 일본의 작가 107명이 참가한 '타이포 잔치 2011: 서울 국제 타이포그래피 비엔날레'가 지난 8월 30일부터 9월 14일까지 예술의 전당 서예박물관에서 열렸다. 세계 유일의 타이포그래피 비엔날레인 이번 행사는 문화체육관광부(장관 정병국) 주최, 한국공예 디자인문화진흥원(원장 최정심), 한국타이포그래피학회(회장 원유홍), 예술의 전당(사장 김장실) 공동 주관으로 '동아시아의 불꽃(동아화화(東亞火花), Fire Flower of East Asia)'이라는 주제로 열렸다. 한국, 중국, 일본 3개국의 타이포그래피 대표 작가 107명이 전시에 참가했다.

• Korean Architects
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• s.543
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• pp.106-111
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• 2014

• Proceedings of KHEA Conference
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• 2007.06a
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• pp.50-50
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• 2007

• Korean Architects
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• s.628
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• pp.107-109
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• 2021