Biodiesel is one of the most important renewable energy, since it is one of the most important alternative and eco-friendly energy source compared to fossil energy, especially for diesel engineequipped vehicles. It is now coming up for preparation of biodiesel as the alternative that applies the hetrogeneous catalyst, super critical state and various methods used in order to reduce the stages of the processes be converted and separation stages started from oil and fat which are originated from animals and wastes, and those new methods bring eco-friendly as well, though some of those are stand on research step so far. It is necessary that nation provides the tax exemption program for the supplier and strengthen the research system for the farming crops relate to fat and oil. It can improve the development of biodiesel which sustains stability against oxidation and keeps good mobility over the low temperatures in the winter season by new additives and develops new processes to show good harmony with diesel engine.

This paper examines the recent exhibitions that reflect feminist global issues initiated and discussed by feminist artists, critics and curators in the U.S. and Korea. While the feminist exhibitions such as <Global Feminisms> and <WACK!> maintain strong western feminist legacies by accepting women artists from other cultures who learn the western feminist idioms, Korean feminist exhibitions attempt to expand its discourse to the feminist artists in the neighboring countries in Asia while respecting Korean traditions and positions. In this new terrain, the emergence of Incheon Women Artists’ Biennale further complicates the meaning of feminist-initiated exhibitions. The biennale, initiated by local women artists untrained by feminism, gradually grows into a large-scale global event and challenges the current status quo of Korean artists who have been divided into feminists and non-feminists, regional artists and global artists, progressives and conservatives, and etc.