• 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.

• The Journal of the Convergence on Culture Technology
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• v.8 no.5
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• pp.155-160
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• 2022

This paper intends to focus on the practical activities and historical significance of network art, that is, 'net art' as an artistic form that depends on network technology. This is because the appearance of net art, which constructs a new interactive art that cooperates and exchanges with each other beyond the boundaries of time and space, can be a contemporary alternative in overcoming the limitations of traditional art. Another important research area to be considered in this paper is net art curating, as well as considering the significance of net art in art history. As new media art that is defined as a 'process' rather than a complete object, net art is a digital art that requires functions such as aesthetic appropriation, dissemination, and mediation performed online, unlike physical presentations with high perfection in exhibition halls. It is accompanied by a new social and cultural curatorial. This appearance requires both artists and curators to reorganize the strategy that net art curating in technoculture should have. Therefore, this paper attempts to question the creative strategies of net art in the wave of globalization in the 21st century, and to examine the artistic meaning and critical value of the experimental net art curatorial method that emerged through the realm of new technology and media. For this purpose, this paper demonstrated key examples of net art works and exhibition projects that started with Fluxus in the 1960s and are spreading all over the world in the 2000s.