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Contemporary Art of Mongolia II | Apr 1 – Apr 19, 2014

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Contemporary Art of Mongolia II | Apr 1 – Apr 19, 2014

 

“Contemporary Art of Mongolia II” will be held on the the 2nd anniversary of 976 Art Gallery. The exhibition features artworks by G. Munkhtbold, M. Batzorig, B. Badral, D. Battsetseg (Godo), S. Ganzug, D. Uuriintuya, U. Narbayasgalan, B. Nandin-Erdene, B. Enkhchuluun, G. Gerelkhuu, B. Enerel, B. Enkhzaya, as well as works from the art collective Human, Nature, Love, Freedom.

Монголын Контемпорари Арт 2

 

976 галерей хоёр жилийн ойдоо зориулан “Contemporary Art of Mongolia II” үзэсгэлэнг нээлээ. Тус үзэсгэлэнд  уран бүтээлч Г.Мөнхболор, М.Батзориг, Бу.Бадрал, Годо буюу Д.Баярцэцэг, С.Ганзүг, Д.Үүрийнтуяа, У.Нарбаясгалан, Б.Нандин-Эрдэнэ, Б.Энхчулуун, Г.Гэрэлхүү, Б.Энэрэл, Э.Энхзаяа, түүнчлэн “Хүн, байгаль, хайр, эрх чөлөө” хөдөлгөөний цоо шинэ бүтээлүүдийг дэлгэн харуулах юм.

April 1, 2014
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PERFECT QUALITY | Mar 3, 2014

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EXHIBITION DEDICATED TO THE INTERNATIONAL WOMEN’S DAY,
featuring, Ts.Tsegmed, State Laureate Artist and B.Bayart-Od, UMA Prize Winner

Монгол улсын Төрийн соёрхолт зураач Ц.Цэгмэд, Урчуудын эвлэлийн хорооны шагналт зураач Б.Баярт-Од нарын
ОЛОН УЛСЫН ЭМЭГТЭЙЧҮҮДИЙН БАЯРТ ЗОРИУЛСАН ҮЗЭСГЭЛЭН

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Mother land 2013 – B.Bayart-Od
Oil on canvas
110×130
[vc_single_image image=”4294″ img_size=”full” alignment=”center” onclick=”link_image”]
Perfect Qualities 2013 – Ts.Tsegmed
mixed media
140×180
[vc_single_image image=”4288″ img_size=”full” alignment=”center” onclick=”link_image”]
Mother land 2013 – B.Bayart-Od
Oil on canvas
110×130
[vc_single_image image=”4293″ img_size=”full” alignment=”center” onclick=”link_image”]
In the Gobi of Shand 2013 – Ts.Tsegmed
Oil on canvas
72×90
[vc_single_image image=”4289″ img_size=”full” alignment=”center” onclick=”link_image”]
Mongolia 2013 – B.Bayart-Od
Oil on canvas
110×130
[vc_single_image image=”4292″ img_size=”full” alignment=”center” onclick=”link_image”]
Moonlight Sonata 2013 – Ts.Tsegmed
mixed media
130×194
[vc_single_image image=”4290″ img_size=”full” alignment=”center” onclick=”link_image”]
Sky Stars 2013 – B.Bayart-Od
Oil on canvas
110×130
[vc_single_image image=”4291″ img_size=”full” alignment=”center” onclick=”link_image”]
Tatty Grass 2013 – Ts.Tsegmed
Oil on canvas
72×90
March 3, 2014
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HISTORY OF MONGOLIA | NOV 15, 2013

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Exhibition Dedicated to Independence Day

 

Featuring artists: Ts.Battur, N.Orkhon, B.Baatarzorig, Ts.Olzbaatar, M.Bold, G.Tsenguunjav, D.Bulgantuya, B.Tumurbaatar, S.Dondog, Sh.Tumurbaatar, D.Erdenebileg, M.Uranberh, Ts.Erdenetsog, A.Uuganbayar, P.Enkhtur, Z.Tumenjargal, D.Narantsetseg, E.Tsolmonbat, B.Narangerelm E.Tsogzol, B.Nomin, T.Munkhzul, B.Khongorzul, D.Ganzorigt

Улс тунхагласны баярт зориулан ССАЖЯ-ны санаачлагаар Монголын Орчин Үеийн Урлагийг Дэмжих Холбооноос “ТҮҮХИЙН ЗУРАГ” үзэсгэлэнг 976 Арт Галерей дээр 2013 оны 11-р сарын 15-аас 12-р сарын 9-ийг хүртэл зохион байгуулж байна.

 

Энэхүү үзэсгэлэнгээр уран бүтээлч С.Дондог агсан болон уран бүтээлч Ш.Төмөрбаатар, Н.Орхон, Д.Ганзориг, Ц.Баттөр, Б.Баатарзориг, Ц.Болд, Д.Булгантуяа, Д.Эрдэнэбилэг, Ц.Эрдэнэцог, Р.Энхтөр, Б.Нарангэрэл, Б.Номин, Г.Чингүүнжав, Б.Төмөрбаатар, М.Уранбэрх, А.Ууганбачр, З.Түмэнжаргал, Э.Цолмонбат, Т.Мөнхзул, Б.Хонгорзул нарын 40 гаруй бүтээлийг олон нийтийн хүртээл болгож байна.

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November 13, 2013
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ART OF CALLIGRAPHY | OCT 13, 2013

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The exhibition presents artworks by 4 leading calligraphers of Mongolia, D.Battumur, L.Tushigjargal, D.Ganbaatar, Ts.Tamir. The exhibition is scheduled to be presented at the “National Gallery of Australia in Canberra” Gallery, Australia in June 2014.

Шилдэг каллиграфч Д.Баттөмөр, Л.Түвшинжаргал, Д.Ганбаатар, Ц.Тамир нарын бүтээлийг толиллуулж буй энэхүү үзэсгэлэн нь 2014 оны 6-р сард Австралийн “National Gallery of Australia in Canberra” галлерейд гарах урилгыг хүлээн авсан байна.

[vc_single_image image=”4261″ img_size=”full” alignment=”center” onclick=”link_image”]
Sky – B.Ganbaatar
Ink on papyrus
70×130
[vc_single_image image=”4257″ img_size=”full” alignment=”center” onclick=”link_image”]
Mongolia- L.Tuvshinjargal
Ink on papyrus
115×75
[vc_single_image image=”4253″ img_size=”full” alignment=”center” onclick=”link_image”]
Red – L.Tuvshinjargal
Ink on papyrus
218×64
[vc_single_image image=”4249″ img_size=”full” alignment=”center” onclick=”link_image”]
Beginning of Myth – T.Tamir
Ink on papyrus
107×37
[vc_single_image image=”4245″ img_size=”full” alignment=”center” onclick=”link_image”]
Family of the Camel – D.Battumur
Ink on Papyrus
43×75
[vc_single_image image=”4241″ img_size=”full” alignment=”center” onclick=”link_image”]
Sky 2 – D.Battumur
Ink on Papyrus
33×44
[vc_single_image image=”4237″ img_size=”full” alignment=”center” onclick=”link_image”]
Happiness, Goodness – D.Battumur
Ink in Papyrus
33×44
[vc_single_image image=”4260″ img_size=”full” alignment=”center” onclick=”link_image”]
Success – B.Ganbaatar
Ink on papyrus
70×122
[vc_single_image image=”4256″ img_size=”full” alignment=”center” onclick=”link_image”]
Mountain – L.Tuvshinjargal
Ink on papyrus
[vc_single_image image=”4252″ img_size=”full” alignment=”center” onclick=”link_image”]
Start – T.Tamir
Ink on papyrus
200×110
[vc_single_image image=”4248″ img_size=”full” alignment=”center” onclick=”link_image”]
Heaven – T.Tamir
Ink on papyrus
32×68
[vc_single_image image=”4244″ img_size=”full” alignment=”center” onclick=”link_image”]
Ritual of Mongolian Shaman on the Horseback – D.Battumur
Ink on Papyrus
33×44
[vc_single_image image=”4240″ img_size=”full” alignment=”center” onclick=”link_image”]
Sky – D.Battumur
Ink on Papyrus
33×44
[vc_single_image image=”4259″ img_size=”full” alignment=”center” onclick=”link_image”]
Mountain – B.Ganbaatar
Ink on papyrus
70×130
[vc_single_image image=”4255″ img_size=”full” alignment=”center” onclick=”link_image”]
Sumber – L.Tuvshinjargal
Ink on papyrus
76×119
[vc_single_image image=”4251″ img_size=”full” alignment=”center” onclick=”link_image”]
13th Century – T.Tamir
Ink on papyrus
167×100
[vc_single_image image=”4247″ img_size=”full” alignment=”center” onclick=”link_image”]
Autumn – T.Tamir
Ink on papyrus
58×65
ENQUIRE 
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Winter – D.Battumur
Ink on Papyrus
33×44
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Summer – D.Battumur
Ink on Papyrus
33×44
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Asia- L.Tuvshinjargal
Ink on papyrus
121×76
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Asia – L.Tuvshinjargal
Ink on papyrus
121×76
[vc_single_image image=”4250″ img_size=”full” alignment=”center” onclick=”link_image”]
Secret History of Mongolia – T.Tamir
Ink on papyrus
107×37
[vc_single_image image=”4246″ img_size=”full” alignment=”center” onclick=”link_image”]
Top of the Camel is closer to the sun – D.Battumur
Ink on Papyrus
75×35

 

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Spring – D.Battumur
Ink on Papyrus
33×44
[vc_single_image image=”4238″ img_size=”full” alignment=”center” onclick=”link_image”]
Autum – D.Battumur
Ink on Papyrus
33×44
October 7, 2013
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Otgontuvden Badam | SOUND OF CLATTER | Aug 15 – Dec 30, 2013

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OTGONTUVDEN Badam: Destined for supreme art

Being a rare exquisite flower which grew up in the garden of Romanticism on the Russian soil, artist Otgontuvden is unique phenomena in the contemporary art world.

In our times, when most of young artists resort to photography and design, and sometimes even to theatre and show business in search of quick success, Otgontuvden choosen a tested but more difficult road traveled by many painters before him in 18-20 centuries – from a distinctive and bright but somewhat provincial Voronezh city art school to the halls of the famous Academy of Arts in the old capital city of St.Petersburg.

Indeed, Otgontuvden can be rightly described as unique art phenomena because he brings new colours, space and energy to the long standing tradition of panoramic painting almost abandoned by contemporary Russian painters and ignored by art connoisseurs.

Otgontuvden’s works reminds the paintings by Russian artists Nikolai Feshkin, Valentina Serova and Fiodor Maliavyn, as well as Spanish Joaquin Sorolla. The themes he chooses for his artworks may look simple but they meet all the strict requirements of the traditional academic schools.

Otgontuvden artistic style is very close to that of Nikolai Feshin. Both artists skillfully use the background color palette to distinguish and stress person’s features and appearance. However, the ability to breathe inner life into each of his painting makes Otgontuvden to stand apart from his contemporaries and even many representatives of Impressionists from early 20th century.

Be it a nature or a still life drawing, each work of his works has its inner life, movements and reflects the entire universe behind through the composition and colors.

Moments of history, traditional dress and nomadic lifestyle of his native land feature prominently in Otgontuvden’s art works, painted in wide open, monumental style. Artist excels in depicting the swift movement of galloping horses, fierce battle scenes, and fast advancing horse herd. His heroes cross the night darkness and conquer endless spaces.

Except some drawings of St.Petersburg streets, most of his works distract viewers from the reality of daily life and bring under the blue sky and vast open spaces and let them to meet reserved and very proud nomadic people.

Aside from children portraits, the heroes of Otgontuvden works are almost emotionless, and their inner pride, stamina and character are reflected through small details of glance, posture and body movement.

The young artist embeds all his heart and life optimism into his paintings, making even a small art work worth a series of paintings.

When painting historical themes, Otgontuvden follows the best of the Russian and Soviet school of battle scene painting, carefully selecting the most appropriate composition, format and angles. He not only skillfully depicts the horse and riders’ movements but also distinctly reflects the person’s face and character.

This ability comes very handy when the artist paints still-life, portrait and other, more quiet genres. As for portraits, the artist continues the traditions of Russian art school from late 19th and early 20th century. It is evident that he studied and learned from the works of many artists of the best period of Valentin Serov and Korin brothers.

He chooses the composition, color range and even style, carefully considering the person’s features and character.

Each of heroes of portraits by Otgontuvden has its own character and attracts viewers attention as he shows not only outside features but the inner beauty of human beings, the true indication of his artistic talent.

If we judge the artistic style, genre and themes, without any doubt, Otgontuvden belongs to the Realism school, with slight bent to the Romaticism side. Like Russian painters were appaled by the beauty and colors of the Italian Mediterranean in 19th century, Otgontuuvden draws the inspiration and energy from the beauty and colors of the nature in his native land.

In other words, he applies the best of his art school traditions to continue the national arts development.

This is the path he choose and he puts high requirements to himself while he advances along this road. I am confident that we will hear more about this artist who only began his artistic career and rightfully expect to see many excellent art works from him.

Tatiana Troitskaya
Art critic and expert

БАДАМ ЫН ОТГОНТҮВДЭН: Урлагийн оргилд хүрэх хүн

Миний өгүүлэх уран бүтээлч бол оросын урлагийн хөрс, реализмын мандал дээр ургасан гайхамшигт ховор цэцэг шиг өнөөгийн уран зургийн ертөнцийн маш содон үзэгдэл гэж болно.

Өнөөдөр ихэнх залуу уран бүтээлчид түргэн, хялбар аргаар нэр төр олох гэж урлагийн хавсрага нэр төрөл болох фото, дизайн, заримдаа бүр эстрад, театрын хэлбэр рүү хошуурч буй энэ үед Отгонтүвдэн хэдэн зуун жилийн туршид шалгарсан, 18-20-р зууны олон арван уран бүтээлчид туулж өнгөрүүлсэн хөгжлийн замыг дагаж, зарим талаар бөглүү алс Воронежын урлагийн сургуулиас хуучны нийслэл хотын нэрд гарсан Санкт-Петербүргийн Урлагийн Академийн төв заал хүртэл амаргүй замыг туулж.өвөрмөц, хурц, мэргэжлийн арга барилаараа бусдаасаа ялгарч чадсан юм.

Тийм ээ, Отгонтүвдэнг соёл урлагийн содон өвөрмөц үзэгдэл гэж хэлж болно. Тэрээр Оросын уран бүтээлчдийн дунд тийм ч моодны биш болж, өнөө үед эрэлт хэрэгцээ нь багассан том панорам бүхий бүтээлд хязгааргүй эрч хүч, өөрийн зан араншин, өнгө, орон зайн мэдрэмжийг авчирсан юм.

Отгонтүвдэнгийн бүтээлүүд нь Оросын Николай Фешкин, Валентин Серов, Федор Малявин, Испанийн Хоакин Сороль зэрэг уран бүтээлчдын арга барилыг санагдуулах бөгөөд сонгосон сэдэв нь энгийн боловч ерөнхий зохиомж ба өнгөний хослол, таталбарууд нь уран зургийн академик уламжлалын хатуу бүх шаардлагад бүрэн нийцэж байдаг.

Отгоогийн бүтээлүүд нь ялангуяа Н.Фешины хөрөг зургуудтай мөн чанарын хувьд тун төстэй юм. Хоёулаа зургийн фактур ба өнгийг хүний бодит дүр төрхийг тодотгон гаргахад чадварлаг ашигладаг тул энэ хоёрыг ингэж харьцуулах нь зүй ёсных байж болно. Гэхдээ өнөө үеийн олон уран бүтээлчид, 20-р зууны эхэн үеийн импрессионизмын төлөөлөгчдөөс Отгонтүвдэнгийн яах аргагүй ялгарч буй нэг онцлог бол зураг бүрт нь түүний бодол санаа шингэсэн явдал юм. Байгалийн таталбар эсвэл натюрморт ч бай, түүний бүтээл болгон өөрийн дотоод амьдрал, өрнөлтэй байх бөгөөд тэрээр өнгө, зохиомжоор дамжуулан цаад ертөнцийг бүхэлд нь илэрхийлэн тусгасан байдаг.

Төрсөн орных нь түүхэн цаг үе, үндэсний хувцас, нүүдлийн ахуйг тусгасан зургууд Отгонтүвдэнгийн бүтээлд ихээхэн чухал байр эзэлдэг.

Эдгээрийг мөн их далайцтай, монументаль байдлаар илэрхийлж, давхилдах морьд, ширүүн тулаан, мордын төвөргөөн зэргийг тун чадварлаг гаргасан байна. Түүний зургийн баатрууд шөнийн харанхүй, алс хязгаарыг зоригтой туулна.

Петербург хотыг дүрсэлсэн бүтээлүүдийг эс тооцвол, түүний бүх бүтээлд орон зайн эцэс төгсгөл, зах хязгаар гэж үгүй. Тэрээр үзэгчийг өдөр тутмын ердийн амьдралаас гаргаж өндөр тэнгэрийн дор, уудам хээр талд ганцаар нь үлдээн тэндэхийн үг цөөтэй ч агуу, бардам хүмүүстэй нүүр тулган уулзуулж байдаг.

Хүүхдээс бусад түүний дүрсэлсэн баатрууд нь сэтгэлийн хөдлөл багатай байх ба тэдний дотоод тамир, тэвчээр хатуужил, ааш занг жижиг деталь, хүний харц, биеийн хөдөлгөөнөөр нь тодотгон илэрхийлсэн байна. Залуу уран бүтээлч бүтээл болгондoo өөрийн зүрх сэтгэл, амьдралд баярлан талархах өөдрөг үзлийг шингээж бүтээдэг тул зарим жижиг зургууд хүртэл полиптих буюу цуврал бүтээлээс дутахааргүй дотоод өрнөлтэй болсон гэж хэлэхээр.

Түүхэн сэдэвт бүтээлүүдэд Отгонтүвдэн орос болон зөвлөлтийн уран зургийн сонгодог “школ”-ын уламжлалыг даган зохиомж, хэмжээ дамжаа, өнцгийг нь сонгож, морьд болон унасан эзнийх нь биеийн хөдөлгөөнийг чадварлаг дүрслэн үзүүлэхийн сацуу царай, дүр төрхийг нь тод гаргажээ.  Энэ арга барил түүнд натюрморт, зохиомжит болон сэдэвт хөрөг зэрэг харьцангүй даруу, тайван жанруудад бүтээл туурвихад ихэд тус болж байна.

Хөргийн хувьд 19-р зууны төгсгөл, 20-р зууны эхэн үеийн оросын уламжлалыг үргэлжлүүлсэн харагдана. Отгон маань Валентин Серовын бүтээлүүд, ах дүү Корины оргил үеийн өвийг анхааралтай судалж, арга барилаас нь хичээнгүйлэн суралцсан нь илт байна. Дүрсэлсэн баатрын ааш зан, онцлогийг харгалзан ерөнхий зохиомжийг нь сонгохоос гадна хэв маягийг нь хүртэл оновчтой тохируулдаг.

Отгонтүвдэнгийн дүрсэлсэн бүх баатрууд нь өөрийн гэсэн өрөвмөц, үзэгчийг анхаарлыг татахуйц ааш зантай байгаа нь уран бүтээлчийн авьяасыг илэрхийлнэ. Тэрээр зөвхөн гаднах төрхийг нь тусгахаас гадна хүний дотоод ертөнцийн сайн сайхныг илэрхийлж, өөрийн сэтгэгдэл ойлголтоор үзэгчдэд хүргэж чадаж байгаа нь сонирхолтой.

Уран зургийн төрөл, зурах арга барил, сонгодог сэдвийн хувьд Отгонтүвдэн яах аргагүй реалист чиглэлийн, тэр дотроо романтизм сургуулийн уран бүтээлч мөнөөс мөн. Дээр үед Оросын уран бүтээлчид Италийн байгалийг шүтэн биширч байсан шиг миний өгүүлэх уран бүтээлч уран бүтээлийн онгод, өнгө аясыг нарлаг Дундад тэнгисээс бус, бага наснаас нь танил болсон өөрийн эх орны байгалийн цог жавхаагаас олж байна.

Өөрөөр хэлэх бол тэрээр сурсан “школ”-ын уламжлал, мэргэжлийн ур чадвартаа тулгуурлан өөрийн зургуудаар үндэсний урлагийг хөгжүүлэн бүтээж байнаа юм.

Энэ бол түүнийг сонгосон, зорьж буй замнал бөгөөд өөртөө их өндөр шаардлага тавьж, уран зургийн урлагт дөнгөж гараагаа эхэлж буй энэ залуу уран бүтээлчээс бид маш олон содон бүтээл туурвиж их өндөр амжилтад хүрэхийг зүй ёсоор хүлээх болно.

Татьяна Троицкая,
Урлаг судлаач мэргэжилтэн

[vc_single_image image=”4215″ img_size=”full” alignment=”center” onclick=”link_image”]
SCUFFLE FOR MUSSUEK
Oil on canvas
200×400
[vc_single_image image=”4222″ img_size=”full” alignment=”center” onclick=”link_image”]
SCUFFLE FOR MUSSUEK 2
Oil on canvas
200×400
[vc_single_image image=”4218″ img_size=”full” alignment=”center” onclick=”link_image”]
HUNTER 2013
Oil on canvas
100×210
[vc_single_image image=”4221″ img_size=”full” alignment=”center” onclick=”link_image”]
PORTRAIT OF DORJ
Oil on canvas
110×60
[vc_single_image image=”4217″ img_size=”full” alignment=”center” onclick=”link_image”]
FUTURE REVOLUTIONISTS
Oil on canvas
100×210
[vc_single_image image=”4220″ img_size=”full” alignment=”center” onclick=”link_image”]
A SMOKING MAN
Oil on canvas
90×80
[vc_single_image image=”4219″ img_size=”full” alignment=”center” onclick=”link_image”]
BROTHERS
Oil on canvas
90×140
August 15, 2013
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Joint exhibition I Perfect Harmony – Tradition Meets Contemporary I Jul 4-24, 2013

By ExhibitionNo Comments

Artists B.Baatarzorig and B.Nomin have studied in the traditional painting class of the Mongolian University of Fine Art, so they use traditional technique for their artworks. But their bright colored artworks have element of surrealism and subject matters combine both traditional and modern scene. Some of artworks by B.Baatarzorig is completed on the piece of old wooden chest, portraying old historical figures and people.

 

In case of B.Khishigsuren and D.Otgontugs, their approaches are opposite. They have learnt European technique in Mongolian University of Fine Art, therefore their artworks have more of impressionist and expressionist styles, but source of theme comes from traditional lifestyle and culture of Mongolia.

 

For the opening of the exhibition, project titled PERFECT HARMONY was performed by TUMEN EKH ENSEMBLE offering 2 full ensemble music pieces and 9 music arrangements and improvisations inspired by the selected artworks displayed in the exhibition. The audience had an opportunity to see, hear and feel the combination of a music and visual scene, blended with traditional and modern expressions. The project was initiated by horse-head fiddle player Ninjee Batchuluun and curated by Art Critic Nomin Baasankhuu..

July 11, 2013
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LOST CHILDREN OF HEAVEN | DEMOCRACY

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Lost Children of Heaven I, 10 Jun – 3 Jul, 2013

Artsts: A.Bayarmagnai, B.Nandin-Erdene, B.Nomin, B.Orkhontuul, D.Uurintuya, E.Lkhagvadorj and E.Naidandorj

LIVES REVEALED

By Ian Findlay-Brown

Over the past decade, young contemporary Mongolian artists have gradually fashioned their own creative voices. These voices have developed a tone and content very different from that of earlier generations for whom political and cultural constraints were commonplace. Uncertainty has given way to self-confidence; fear has been replaced by liberation, and artistic timidity has been supplanted by a willingness to take creative risks. Yet as such things refashion artistic life in ways that were barely imaginable three decades ago, now each passing year produces new political and cultural questions as well as unsettling social dilemmas within Mongolia’s rapidly developing society that demand the attention of artists.

The seven young artists in this exhibition entitled Lost Children of Heaven are addressing some of the more uncomfortable truths on the opening up of a formerly closed society. The downside of rapid modernization, economic inequality, unemployment, alcoholism, violence, alienation, and the pollution and degradation of the environment are among the most pressing.

Personal and public alienation are the themes that lie at the very core of the art of both Bayarmagnai Avirmed and Lkhagvadorj Enkhbat. Their striking, bold visions are uncomfortable to the senses as they speak directly to us. The worlds of which these artists speak are piercing, raw, and relentlessly unforgiving for alienation is a profoundly painful matter at any time and in any place. People are frequently estranged from each other and society by anonymous actions. It is often merely due to the reality that international business and politics have seemingly suddenly altered course, sweeping aside all those who simply just can’t keep up. Business and politics are anonymous machines: individuals are but tools to be used until they can be used no more. Bayarmagnai observes personal alienation by examining himself closely through his art. His large bulbous faces, as in works such as Thought Interrupted and Epiphany are not, strictly speaking, self-portraits. Each face or action here represents a thought, a tortured reaction to the world as the character attempts to fit into society or to come to terms with it. The art of Lkhagvadorj Enkhbat, on the other hand, is an objective look at those whose worlds have collapsed. Lkhagvadorj’s characters are the homeless, the drunk, those dispossessed often through no fault of their own. Yet there are still dreams even amidst the broken urban promises. In Lkhagvadorj’s beautifully observed I Dream of Having A Horse a lost homeless nomad man is tethered to his past through a line to a large piece of horsehide. In Needs Are Fulfilled, a drunk lies stretched out on the ground, his arm reaching out to the garbage around him, a plastic Nomin bag full of rubbish, the sad promises of the consumerist world.

This deep sense of sadness and alienation is also present in dramatically realized works by Nandin-Erdene Budzagd, Orkhontuul Banzragch, and Naidandorj Enkjbaatar. Nandin-Erdene’s visions of children are heartrending, while Orkhontuul’s view of humanity, as in Blind Faith is anonymous, a person facing away from the viewer or a nude female in Laborous Thoughts, whose head is swarmed by angry, hungry pigeons that remind one of scenes from Alfred Hitchcock’s film The Birds (1963). Naidandorj Enkhbaatar’s characters strike one as if they are actors in odd makeup or clowns that just have emerged from a circus. But these clown-like people such as in Red, Blue, and Yellow (colors of the Mongolian national flag and the various political parties that now pepper the political scene) are not meant as fun, but rather as an indictment of Mongolia’s rapidly changing political life. Each of these artists’ works is touched by a strange sense of the surreal, worlds that we think we know but are hesitant to accept.

In the art of Uuriintuya Dagvasambuu and Nomin Bold we come face to face with the quiet desperation of the domestic world and the emotional life of individual women and families. In Uuriintuya’s art the world appears quite simple—views of personal identity, the desire to fly away, dreams of freedom expressed quite erotically, and the utensils and objects of everyday life. But it is far from simple as a close look at the muted-colored art of Uuriintuya shows. There is visceral tension at work. The anonymous world of Uuriintuya is far from the complex and highly symbolic world that Nomin Bold paints. There is a formality to the color and the geometry to Nomin’s art that is not present in the others’ paintings. Even as she discusses the worlds of good and evil, in her beautifully realized figures in the double-portrait—one in red and one in blue—entitled Unconditioned Need for Harmony, one is always aware of a formal tone. Here, and in Unwanted Freedom, one sees just how carefully arranged and how well observed her paintings are. In Unconditioned Need for Harmony, one sees just how effective her Klimt-like influence is suggesting a certain malevolence and in Unwanted freedom just how well she mixes the modern and the traditional and the symbolic and real as well as dream. The structures of which these artists speak may appear solid but they are in reality often held together tenuously, either by the tailor’s pin as in Unwanted Freedom or by sweetness and quiet beauty of a flower such as the Edelweiss.

Through these artists’ recent works it is clear that they are unafraid to paint from the heart, to paint with a shrewd eye with which to see beyond the surface. These painters are not interested in surface or sleight of hand or the sweet words of the politicians, which is why their visions are often uncomfortable to those for whom any challenge to the status quo is anathema.

Copyright © 2013 Ian Findlay-Brown

[vc_single_image image=”4161″ img_size=”” onclick=”link_image”]
Untitled 2013 – D.Uuriintuya
Acryl on canvas
70×100
[vc_single_image image=”4159″ img_size=”” onclick=”link_image”]
Laborious Thoughts 2013 – B.Orkhontuul
Oil on canvas
150×150
[vc_single_image image=”4157″ img_size=”” onclick=”link_image”]
Foreign Dream 2013 – B.Orkhontuul
Oil on canvas
200×150
[vc_single_image image=”4155″ img_size=”” onclick=”link_image”]
Unwanted Freedom 2013 – B.Nomin
Acrylic on canvas
130×100
[vc_single_image image=”4153″ img_size=”” onclick=”link_image”]
Unconditioned Need for Harmony – B.Nomin
Acrylic on canvas
130×100
[vc_single_image image=”4151″ img_size=”” onclick=”link_image”]
Life on the Teeter 2013 – B.Nandin-Erdene
Mixed Media
120×95

 

[vc_single_image image=”4149″ img_size=”” onclick=”link_image”]
Children and Movement 2013 – B.Nandin-Erdene
Mixed Media
122×82

 

 

[vc_single_image image=”4147″ img_size=”” onclick=”link_image”]
Red 2013 – E.Naidandorj
Oil on Canvas
180×140

 

[vc_single_image image=”4145″ img_size=”” onclick=”link_image”]
Meeting in Different World 2013 – E.Lkhagvadorj
Oil on Canvas
170×100

 

[vc_single_image image=”4143″ img_size=”” onclick=”link_image”]
Don’t 2013 – E.Lkhagvadorj
Oil on Canvas
100×100
[vc_single_image image=”4140″ img_size=”” onclick=”link_image”]
I Would Like to Scream 2013 – A.Bayarmagnai
Oil on Canvas
150×100

 

 

[vc_single_image image=”4160″ img_size=”” onclick=”link_image”]
Path to Wealth – D.Uuriintuya
Acryl on canvas
149×99
[vc_single_image image=”4158″ img_size=”” onclick=”link_image”]
In Transition 2013 – B.Orkhontuul
Oil on canvas
140×110
[vc_single_image image=”4156″ img_size=”” onclick=”link_image”]
Blind Faith – B.Orkhontuul
Oil on canvas
90×120
[vc_single_image image=”4154″ img_size=”” onclick=”link_image”]
Need for Harmony
Acrylic on canvas
130×100
[vc_single_image image=”4152″ img_size=”” onclick=”link_image”]
Labyrinth Game 2013 – B.Nomin
Acrylic on canvas
130×100
[vc_single_image image=”4150″ img_size=”” onclick=”link_image”]
Continuation 2013 – B.Nandin-Erdene
Mixed media
120×95

 

[vc_single_image image=”4148″ img_size=”” onclick=”link_image”]
Yellow 2013 – E.Naidandorj
Oil on Canvas
180×140

 

[vc_single_image image=”4146″ img_size=”” onclick=”link_image”]
Blue 2013 – E.Naidandorj
Oil on Canvas
180×140

 

[vc_single_image image=”4144″ img_size=”” onclick=”link_image”]
Dream of Having a Horse 2013 – E.Lkhagvadorj
Oil on Canvas
160×160

 

 

[vc_single_image image=”4142″ img_size=”” onclick=”link_image”]
Self Revelation 2013 – A.Bayarmagnai
Oil on Canvas
100×80

 

 

[vc_single_image image=”4141″ img_size=”” onclick=”link_image”]
Interrupted Thought 2013 – A.Bayarmagnai
Oil on Canvas
150×100

 

 

 

June 10, 2013
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Contemporary Art of Mongolia I | Apr 10 – May 8, 2013

By ExhibitionNo Comments

 

CONTEMPORARY ART OF MONGOLIA I

Discover the works of contemporary artists B.Orkhontuul, D.Dorjderem, T.Enkhbold, J.Anunaran, D.Batzorig, B.Dulguun, Bu.Badral, T.Enkhbold, B.Nandin-Erdene, S.Zesee, E.Lkhagvadorj, L.Khongorzul Ts.Tamir, B.Enerel, Bukhshandas, L.Munguntsetseg, Ts.Myadagmaa and Z.Tumenjargal,

 

Lkhagvadorj – НИЙГМИЙН БОХИРДОЛ – CONTAMINATION IN THE SOCIETY

Хүмүүс намайг хараад муу архичин л гэдэг. Би залуудаа сайхан амьдралтай, сайхан ажилтай явсан. Одоо миний үр хүүхэд тусдаа гараад сайхан амьдарч байгаа. Намайг хүрээд ир гэдэг юм. Гэхдээ би үр хүүхэддээ гай болоод яахав гэж бодоод л ингэж явнадаа.

Миний насны хүмүүст ажил олддоггүй, бичиг баримт байхгүй болохоор ажилд авдаггүй. Тэгээд хог лааз түүж өдрийг аргацаалж амьдарч байна. Хүмүүс биднийг хүн гэж ойшоож үздэггүй. Залуучууд нь нийлж зодож, хөгшчүүд нь харааж зүхнэ.

Ингэж л амьдрал үргэлжлэнэ дээ хөөрхий.

When people see me, they see me as an alcoholic. When I was younger, I had a good job and good life. Now my children have families and live independently. They ask me to come to live together. I don’t want to disturb the lives of my children and chose this way of life.

People of my age have difficulty in finding job. Because I don’t have personal documents, it creates more difficulty. I live on the garbage, collecting bottles and cans to sell. People don’t perceive us as a human-being. Young people lash me and older people curse.

This is the way how my life goes on.

Orhontuul – БИ ХУВЦАС / AM I CLOTHE

Хүмүүс янз бүрийн хувцас өмсөж өөрийн бодит мөн чанараас өөр өөр дүрд хувирцгаадаг. Бид хувцасыг өмсөж байна уу, эсхүл хувцас биднийг өмсдөг юм уу?

Human being survives in “me” named clothes, creates more than 2 faces, losing their own identities. Are we wearing clothe or we are worn by the clothes?

Anunaran – 1-9 САРТАЙ УРАГИЙН АМЬДРАЛ – 1-9 MONTH EMBRYO – ULTRASOUND

Ураг Хүүхэд эхийн хэвлийд 9 сар амьдарч, хөдөлгөөн үйлдлээр нь унтаж бүр зүүдэлдгийг эхо аппаратаар харж байна. Тэд хэвлийдээ мөн чанараараа оршихуй.. тэд хичээдэггүй… чармайдаггүй… бүх зүйл зөнгөөрөө болдог… яг л мод ургах гэж хичээдэггүйтэй адил…

Гэвч бид “эхийн хэвлийд байхад нь үрээ хайр найргүй олон дахин устгадаг шиг” бас л тэр хэмжээгээр мөн чанараа нухчин дарсаар  байх шиг…

We can see in the ultrasound screen, how embryo moves and lives in the womb of mother during the 9 months pregnancy. They live on their own way, they don’t strive; everything goes in a natural way. It is like a way how trees grow.

We destroy our own essence, in a way how women destroy their children, while they are living in the womb of own mother…

April 10, 2013
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Delights of the world | Mar 8 – Apr 5, 2013

By ExhibitionNo Comments

Artists: J.Anunaran, S.Ariunaa, N.Ariunzaya, D.Badam, P.Baigal, M.Bayarmagnai, D.Bayartsetseg, Ts.Bolor, J.Bolortuvshin, Ya.Bulgan, D.Bulgantuya, B.Delgertsetseg, Dokino, B.Dulguun, B.Enkhtuya, E.Enkhzaya, T.Erdenetuya, G.Ganchimeg, S.Gantsatsral, B.Khingorzul, T.Khulan, B.Munkhtsetseg, L.Munguntsetseg, B.Nandin-Erdene, N.Naljirmaa, B.Nasantsengel, T.Nurmaajav, B.Nomin, U.Odmaa, D.Otgontugs, Ya.Oyunchimeg, D.Oyundari, S.Sarantsatsralt, B.Sarnai, B.Shatarsaikhan, Ts.Solongo, B.Tserendejid, G.Tsolmon, S.Tugsoyun, N.Tuya, V.Undraa, D.Uuriintuya, Z.Uyanga, S.Zesee, A.Ulziijavkhlan.

 

 

The Ministry of Culture, Sports and Tourism of Mongolia is proud to bring to you the best of the modern Mongolian arts, created by the Mongolian women artists. We do hope that you will and feel warm love and care, enjoy new sensations, colors and emotions, charge yourself with the energy and joy emanating from these art works.

We would like to use this opportunity to express our sincere gratitude to the Culture and Art Development Foundation and the Mongolian Association in Support of Modern Arts, our partners in making this project happen.

Уран бүтээлчид: Ж.Анунаран, С.Ариунаа, Н.Ариунзаяа, Д.Бадам, П.Байгал, М.Баярмагнай, Д.Баярцэцэг, Ц.Болор, Ж.Болортүвшин, Я.Булган, Д.Булгантуяа, Б.Дэлгэрцэцэг, Докино, Б.Энхтуяа, Э.Энхзаяа, Т.Эрдэнэтуяа, Г.Ганчимэг, С.Ганцацрал, Б.Хонгорзул, Т.Хулан, Б.Мөнхцэцэг, Л.Мөнгөнцэцэг, Б.Нандин-Эрдэнэ, Н.Налжирмаа, Б.Насанцэнгэл, Т.Нурмаажав, Б.Номин, У.Одмаа, Д.Отгонтөгс, Я.Оюунчимэг, Д.Оюундарь, С.Саранцацралт, Б.Сарнай, Б.Шатарсайхан, Ц.Солонго, Б.Цэрэндэжид, Г.Цолмон, С.Төгсоюун, Н.Туяа, В.Ундраа, Д.Үүрийнтуяа, З.Уяанга, С.Зэсээ, А.Өлзийжавхлан

 

 

Хүн төрөлхтөний гоо зүйн сэтгэлгээний гайхамшиг болсон уран зургийн хөгжилд манай зураачид өөрсдийн хувь нэмрээ оруулсаар ирсэн билээ. Тэр дундаа эмэгтэй зураачдын маань бүтээл өөр өөрийн өнгө төрх, нандин мэдрэмж, ур чадвараараа гайхамшиг бүтээж байна.

Орчин үеийн Монголын уран зургийн хөгжлийг сэтгэлгээ, ур чадварын шинэ түвшинд аваачсан шилдэг бүтээлүүдийг “Ертөнцийн гэгээ” үзэсгэлэнгээр дамжуулан эрхэм Таны өмнө дэлгэхэд Соёл, спорт, аялал жуулчлалын яам хувь нэмэр оруулж байгаадаа баяртай байна.

Энэ бүтээлүүдээс Та бүхэн цоо шинэ мэдрэмж, өнгө, үнэр амтыг таньж, цуцашгүй эрч хүч, сэтгэлийн баяр баясгалан, халуун дулаан хайр энэрэлийг мэдрэнэ гэдэгт итгэлтэй байна.

Энэ дашрамд хамтран ажилласан Соёл, урлаг хөгжүүлэх сан, Монголын орчин үеийн урлагийг дэмжих холбоонд талархал илэрхийлье.

Зураач эмэгтэйчүүдийн маань бүтээсэн “Ертөнцийн гэгээ”-д тавтай морилно уу.

[vc_single_image image=”4203″ img_size=”full” alignment=”center” onclick=”link_image”]
Nomadic Mind – S.Zesee
mixed media
50×50 cm
[vc_single_image image=”4198″ img_size=”full” alignment=”center” onclick=”link_image”]
New Hat – U.Oyunchimeg
Oil on canvas
40×32
[vc_single_image image=”4202″ img_size=”full” alignment=”center” onclick=”link_image”]
Who is Who 2012 – D.Uuriintuya
Acryl on canvas
140×140
[vc_single_image image=”4197″ img_size=”full” alignment=”center” onclick=”link_image”]
Dream –  D.Oyuntugs
Oil on canvas
100×100
[vc_single_image image=”4201″ img_size=”full” alignment=”center” onclick=”link_image”]
One Beautiful Rhythm – B.Shatarsaikhan
Oil on canvas
89×120
[vc_single_image image=”4196″ img_size=”full” alignment=”center” onclick=”link_image”]
Canorous Universe – B.Nomin
Acryl on canvas
120×180
[vc_single_image image=”4199″ img_size=”full” alignment=”center” onclick=”link_image”]
Youth – D.Oyundari
34x19x14
ENQUIRE
[vc_single_image image=”4193″ img_size=”full” alignment=”center” onclick=”link_image”]
Chatting – Delgertsetseg
mixed media on silk
90×90
March 8, 2013
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Ganzug Sedbazar | DIG YOUR HEAD – PERFORMANCE | Jan 18, 2013

By ExhibitionNo Comments

Ganzug Sedbazar | Dig Your Head | Jan 18, 2013

 

Feed and dig your heads! Through his ironic performance, artist Ganzug is challenging people to work with their minds.

 

Ganzug is regarded as one of the leading contemporary artists of Mongolia, who often incorporates nomadic philosophy and shamanic practices into his performance and installation works. Born and raised in nomadic family, Ganzug has an extensive knowledge on Mongolian traditional lifestyle, where he finds material and non-material substances, that play important role for his works. As a passionate advocate of his unique culture, artist Ganzug performed and exhibited internationally in the Netherlands, Finland, Germany, Hong Kong, Italy, Taiwan, Korea and China.

 

MORE ABOUT THE ARTIST

Сэдбазарын Ганзүг | Толгойгоо ух | 2013 оны 1-р сарын 18

Толгойгоо тэжээ, тэгээд ух! Үйлдлийн урлагаар дамжууулан уран бүтээлч Ганзүг нь хүмүүсийг өөрсдийн оюун ухаантайгаа тулж ажиллахыг ёжилсон хэлбэрээр сануулж байна.

Ганзүг нь нүүдэлчдийн гүн ухаан, бөө мөргөлийн зан үйлийг өөрийн үйлдлийн болон өрөг бүтээлүүддээ тусгал болгосоор ирсэн монголын нэн орчин үеийн шилдэг уран бүтээлчдийн нэг юм. Нүүдэлчин гэр бүлд төрж өссөн тэрээр монголын уламжлалт амьдралын хэв маягийн талаар өргөн мэдлэгтэй бөгөөд тэндээсээ материаллаг болон материаллаг бус сэдлийг олж тэдгээр нь түүний бүтээлд чухал үүрэг гүйцэтгэсээр иржээ. дэг бодисыг олдог. Өөрийн орны өвөрмөц соёлыг төлөөлөн уран бүтээлч Ганзүг нь Нидерланд, Финлянд, Герман, Хонконг, Итали, Тайвань, Солонгос, Хятад зэрэг оронд үйлдлийн урлаг, үзэсгэлэнгээ толилуулсаар явна.

January 20, 2013
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