The first collective artistic manifestation sport took place in 1965 in Barcelona under the name of "SPORT IN FINE ARTS". The success achieved in the invitation encourages the author of the idea, D. JUAN ANTONIO SAMARANCH, then Chairman of national delegation of physical education and Sports, to institutionalize this contest, with the convening of the "INTERNATIONAL BIENNIAL I ESPORT IN FINE ARTS" in 1967.
From then until the end of the century, the senior hoyConsejo Deportesha been organizing the biennial, as artístico-deportivo contest with a major economic strength in thirteen times. Along its editions is proud of displaying more than 6,000 works by artists from around the world, who have made of plastic testimony about highlight the gesture sports, the effort of competition and harmony of men in their struggle to overcome itself.
But for its biennial kept alive the idea of D. JUAN ANTONIO SAMARANCH, it has been necessary to evolve with the times. In 2001, it leaves the contest format and welcomes a new formula which invites a number of artists selected to present their multidisciplinary works. In this new stage of the Biennial, born with the 21st century, it adopts the name BIDA (International Biennial of sport in the art), presents the most avant-garde art and for the first time falls outside the traditional axis Madrid - Barcelona to find its headquarters in other Names of artists from deserved prestige internationally comoEduardo Stream, Marjorie Bartolozzi, Venancio White, Manuel Bouzo, Erni Y, Brown García, José de Guimaraes, Hernández Pijoán, Rogelio López Basin, Sarah Soles, Pol Mara, Antón Patiño, Gregorio Prieto, Costa Matures, José Luis Vicar, Darío Villalbay a long list, are part of the list of art professionals who have participated in its biennial along its years of history.
The support we received from individuals and institutions during these years, both nationally and internationally, have made possible this noble project as testimony to the harmony between art and sport and with the firm intention to endure the beautiful idea of the BARON OF COUBERTIN that the Olympic ideal and artistic manifestations move in the same direction.