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ASIA PACIFIC TRIENNIAL 9 BY THE QUEENSLAND ART GALLERY – GALLERY OF MODERN ART:

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Enkhbold Togmidshiirev’s Performances Make A Connection With His Surroundings

Mongolian artist Enkhbold Togmidshiirev is known for his large-scale, monochromatic canvases, as well as his Ger Project performances. Togmidshiirev staged an improvised roving performance in the outdoor spaces surrounding the Gallery of Modern Art (GOMA) for The 9th Asia Pacific Triennial of Contemporary Art’ (APT9) opening weekend as part of his ongoing Ger Project.

Since 2008, Togmidshiirev has created a number of personalised structures derived from the form of the Mongolian ger, or yurt, with which he performs as a way of developing a connection with his surroundings. The ger, a large circular tent with a collapsible wooden infrastructure, is robust and portable, and highly suited to a nomadic lifestyle. Setting up a ger creates a temporary home that Togmidshiirev equates to a spiritual space. The performance commenced on the Kurilpa Bridge, with Enkhbold making his way across it before concluding the performance in the GOMA Forecourt.

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Image courtesy QAGOMA

March 1, 2019
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Ariuntuya Jambaldorj | Drop of Air | Feb 11 – Mar 8, 2019

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Ariuntuya Jambaldorj

Drop of Air

Feb 11 - Mar 8, 2019

Ariuntuya Jambaldorj | Drop of Air | Feb 11 – Mar 8, 2019

ARTIST STATEMENT

We humans take air from the nature, but never give back. I have a feeling that if my art gives a sense of breathing in fresh air, then I would feel relieved. To me, the art creation process can be compared to a distilling process. It is the process of producing a drop, but has the quality of air -just as nature distills itself and a drop emerges from it. We human-being are the part of the nature – like grass, we come to the earth and go back after a while. Interconnected hearts in my work represent people, dependent on each other, unable to exist alone. Threading a needle, sewing, embroidering, all these processes of creation give a feeling of creating myself. There is no end to this process, you don’t know where the thread is coming from, the thread goes through the needle eye and reaches the vast space, and if you follow the process, you reach the beginning, which could be the vast space.

ABOUT ARTIST

Ariuntuya Jambaldorj is a 2014 graduate of the Institute of Fine Arts of Mongolia. In 2015, along with her friends, Ariuntuya established My Studio and the brand Tara. From 2014 to 2016 she has successfully implemented various art projects and classes while working as a teacher and an artist at Erdem Center as well Tsagaan Darium Art Gallery. She part-took in the 2014-2015 Young Leadership in the Arts program developed by the Arts Council of Mongolia as well as Zorig Foundation’s Young Leadership Program in 2016 and Golomt Bank Scholarship Program in 2012. Ariuntuya’s works have been displayed in over 20 exhibitions, such as Spring, Grand Art, 100 Universes, Golden Brush, organized by the Institute of Fine Arts and Union of Mongolian Artists. She is a recipient of 10 gold, 5 silver and 1 bronze medals from international and domestic children’s competitions and have won 7 prizes from the Institute of Fine Arts and Top Honor Prize from South Korean Mongolian 10th Grand Art Competition.

CV OF ARTIST

Ж. Ариунтуяа | Дусал Агаар | 2019 ны II.11-III.08

УРАН БҮТЭЭЛЧ БҮТЭЭЛИЙНХЭЭ ТАЛААР

Хүмүүс бид дэлхийгээс агаар авдаг хэрнээ буцааж өгдөггүй. Нэг ч гэсэн бүтээл нь агаар болон хүмүүст хүрвээс бүтээлч хүний зорилго биелэх юм. Миний хувьд бүтээл тууривах явцыг нэрмэлтэй зүйрлэж болмоор санагддаг. Дусал мэт боловч агаар шиг шинжтэй охь гаргах явц – яг л байгаль дэлхий өөрийгөө нэрж, түүнээс нь дусал гарч байгаа мэт. Хүн өөрөө байгалийн нэг хэсэг – өвс шиг, байгальдаа ирээд хэсэг хамт байгаад буцах… Миний бүтээл дэх хоорондоо утсаар холбогдсон олон зүрх нь хүмүүсийг төлөөлөх ба тэд дангаараа орших боломжгүй, бие биетэйгээ холбоотойг илэрхийлнэ. Бүтээл тууривах явцад зүү сүвлэх, оёх, хээлэх, энэ бүхэн өөрөө өөрийгөө бүтээж байгаа мэт мэдрэмж төрүүлнэ. Эцсийн төгсгөл гэж байхгүй энэ үйл явцад, утас хаанаас ирж байгаа нь мэдэгдэхгүй, зүүний сүвэгчээр гараад саруул талд очих, хайгаад хөөгөөд явбал эхлэл дээрээ очих, тэр нь саруул тал байх.

УРАН БҮТЭЭЛЧИЙН ТУХАЙ

Жамбалдоржийн Ариунтуяа нь 2014 онд Соёл урлагийн их сургуулийн Дүрслэх урлагийн сургуулийг зураач мэргэжлээр төгсөж, 2015 онд “Миний Урлан” студи, “Тара” брэндийг өөрийн найз нөхдийн хамт үүсгэн байгуулж уран бүтээл тууривахын сацуу дүрслэх урлагийн хичээл, сургалт, төслүүдийг амжилттай хэрэгжүүлж ирсэн. Түүнчлэн 2014-2016 онд Эрдэм төвд сайн дурын багшаар, 2014-2015 онд Цагаандарь галерейд зураач, зургийн багшаар ажиллаж 2014-2015 онд Монголын Урлагийн Зөвлөлийн “Урлагийн залуу манлайлагч”, 2016 онд Зориг Сангийн “Залуу манлайлагч”, Голомт банкны тэтгэлэгт хөтөлбөрт шалгаран оролцож байв. СУИС, Урчуудын эвлэлийн хорооны Хавар, Гранд Арт, 100 ертөнц, Алтан бийр зэрэг 20 гаруй үзэсгэлэнд өөрийн бүтээлээр оролцож, хүүхдийн дотоод гадаадын зургийн уралдаануудаас 10 алт, 5 мөнгө, 1 хүрэл медаль, СУИС-аас шилдэг оюутан, уран бүтээлийн 7 шагнал, Монгол Солонгосын Гранд Арт үзэсгэлэнгээс Тэргүүн байрын шагнал хүртэж байсан өсөж яваа залуу уран бүтээлч юм.

February 11, 2019
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JANTSANKHOROL ERDENEBAYAR

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JANTSANKHOROL ERDENEBAYAR (JANTSA)

Born in Ulaanbaatar, Mongolia

Lives and works in Los Angeles, CA

Artist’s Statement

My work deal with resistance in various ways. My research and investigations are focused on transformations and adjustments of living and non-living things, ideas and perceptions caused by social circumstances. Dealing with such subject matters my works tend to explore possible ways of immunity and adaptations, inasmuch as resistance equals growth.

I am very aware of my roots. As an artist, I am intrigued by Mongolian tales, riddles, and proverbs, which make me aware of how Mongolians have constructed an intellectual communicative mindset that is derived almost completely from their livelihood and surroundings. Because of this I now investigate socially constructed taboos, rituals, superstitions, and habits that we do not easily recognize in our everyday lives. Such things are changing rapidly, so my aim is to create a dialogue between the past and present.

I put myself into environments where given meanings shift and I want to question their essence. So my works deal with resistance in various forms, such as the concept of reincarnation taking many different states of being. Everything is in a state of potential transformation but there is resistance always in growth and survival.

The use of materials and how they change in my work is important conceptually and visually. The use of wood in my works possesses several reincarnated forms, such as cardboard, plywood, sawdust and papier-mâché, which give an idea of shifting shape and presence of things. Polyurethane foam suggests impermanence and time that is relative to everything as it passes. My sculpture Empty Man speaks to human existence in our society, yet it is so simple and otherworldly. Our consciousness takes over whatever body was given to us. Polyurethane foam, here and gone quickly, also implies our own ephemerality. Working with this material gives me a meditative feeling in the present, just as when gravity pulls the wet foam figures to the center of the earth.

The fact that I am attracted to found or retrieved materials may be reminiscent of the movement arte povera, but the ideas and issues that I am addressing are almost timeless and very much tied to contemporary life, as previously encoded understandings change and become more of a hybrid versions of the originals.

 

Education

2019     MFA Candidate, University of California, Los Angeles, CA

2015     City University of New York – Hunter College (BA)

 

Solo Exhibitions

2015     Hybrid Resistance, Zanabazar Museum of Fine Arts, Ulaanbaatar, Mongolia

 

Group Exhibitions

2019    A Temporality, Mongolia Pavilion, Venice Biennale, Venice, Italy

2018     UCLA MFA Preview Show, New Wight Gallery, Los Angeles, CA

2016     Group Exhibition at Swatch Art Peace Hotel, Shanghai, China

2016     Fictive Dreams, Brother Joseph McNally Gallery, Singapore

2016     Contemporary Art of Mongolia IV, Art Space 976+, Ulaanbaatar, Mongolia

2016     Golden Brush, Art Gallery of UMA, Ulaanbaatar, Mongolia

2015     Space, Art Gallery of UMA, Ulaanbaatar, Mongolia

2012     Y(our)s,  Clemente Soto Velez Cultural Center, New York, USA

2012     Faces Ink,  Gallery Bar, New York, USA

 

Workshops

2013     Fantasy Fountain Fund Project at Modern Art Foundry, Queens, NYC, USA

 

Residencies

2017     59 Rivoli, Paris, France

2016     Swatch Art Peace Hotel Art Residency (3 months), Shanghai, China

2016     Tropical Lab-10, Singapore

Press

[vc_single_image image=”1808″ img_size=”full” alignment=”center” onclick=”link_image”]
Breath in Breath Out 2015
polyurethane foam and packaging tape
178x60x55 cm
ENQUIRE
[vc_single_image image=”1812″ img_size=”full” alignment=”center” onclick=”link_image”]
Super Massive Black Hole 2015
sawdust and cardboard
160x50x50 cm
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[vc_single_image image=”1813″ img_size=”full” alignment=”center” onclick=”link_image”]
Karma Comma 2014
mixed media
50x25x20 cm
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[vc_single_image image=”1818″ img_size=”full” alignment=”center” onclick=”link_image”]
Distance of Deepness 2015
sawdust, cardboard and horns
55x160x58 cm
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[vc_single_image image=”1811″ img_size=”full” alignment=”center” onclick=”link_image”]
Shame 2015
polyurethane
life-size
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[vc_single_image image=”2307″ img_size=”full” alignment=”center” onclick=”link_image”]
Comfort Zone 2015
polyurethane foam and packaging tape
110x80x80 cm
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[vc_single_image image=”1810″ img_size=”full” alignment=”center” onclick=”link_image”]
Declaw 2015
sawdus, cardboard and horns
105x55x20 cm
ENQUIRE
February 6, 2019
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Namuun Batbileg | MeWe | Jan 26 – Feb 6, 2019

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SIERRA OF CREATION

Yo.Tuguldur, G.Munkhbolor and B.Bat-Erdene

Jan 20 – Feb 1, 2020

Namuun Batbileg | MeWe | Jan 26 – Feb 6, 2019

 

by Jean-Jacques de Dardel

Ambassador of Switzerland to Mongolia

 

Namuun Batbileg is the first laureate of the Swiss Ambassador’s Art Prize created to acknowledge and support the lively Mongolian arts scene. This new Prize also aims to profile Switzerland’s commitment to enhanced and diversified relations with the Republic of Mongolia. Because beyond political ties and meetings, trade and development cooperation, wider cultural relations bind people and hearts through positive emotions and meaningful exchanges, thus cementing lasting bonds of friendship.

 

After a thorough examination of dozens of quality and well documented applications, the bynational jury selected Namuun Batbileg in the spring of 2018. A video interview with the finalists ensued, but I first met the laureate in person shortly before Naadam, when I handed over the certificate distinguishing her as the winner of the contest in a ceremony staged at the Art Space  976 in Ulaanbaatar in early July. It was a rewarding pleasure to discover a warm, elegantly reserved but shining personality. She was visibly rejoicing at the thought of moving to Switzerland for her residency at the Geneva School of Art and Design (HEAD), a branch of the University of Applied Sciences and Arts of Western Switzerland, one of the most renowned European Art Schools whose aura reverberates around the globe. Not that this were to be her first discovery of the world beyond the open steppes of her home country: Namuun has already travelled rather extensively in Brazil, she held exhibitions in Bulgaria, and has earned early recognition as a promising, talented and multi-faceted visual artist.

 

And so, over a few fall and winter months at the end of last year, Namuun has expanded her horizons further by studying at the HEAD. She interacted with a very multinational crowd of students and professors, she held an exhibition attended by none other than the Mongolian president Khaltmaagiin Battulga and she generously donated many of her works to her country’s Embassy for further exhibitions. It is up to her to share her thoughts and impressions about her stay, the many encounters, the teachings and influences, the learning and introspections, the new impetus gained for novel creativity and experimentation. But it seems obvious to the eye of the observer that she has indeed widened and deepened her grasp on the art of photography. Her gaze at reality, her approach to human figures in their wider natural context, her comprehension of forms and colors have reached new heights. More than ever she looks beyond, searching for different layers of meaning, hidden or deceptively apparent. Her camera now acts as a paint brush, the line is blurred between the figurative and the conceptual, the human form lapses into spirituality. Namuun sails away from the shores of the quickly sighted, the immediate, away from the defined contours of the apparent. Be she surrounded by the majesty and visual symphony of the Geneva lake setting and the skyline of the Alps, she chooses to refrain from enhancing her compositions with grandiose backgrounds. Much rather, she delves into the complexities of reflections on shimmering waters, the cold silence of mist and heavy skies, the blur caused by inner pulsations and the residuum of light as her  focus shifts from body to thought. The viewer of her compositions is brought to reminiscences of Claude Monet’s Nymphéas or David Hockney’s shrill water colors, perhaps John Armleder’s glittering drippings, before being led to loftier levels of intellectualism, where abstraction meets transcendentalism in a mental voyage to the roots of Mongolian culture.

 

Namuun Batbileg defines her concept as Emotional Balance. Indeed an approach based on emotions left to flourish, be they uplifting or anxious, before being funneled into a new sense for a deeper meaning. And as feelings stirred by the vision of her creations linger on, there remains an almost tangible sense of a true addition to Mongolian-Swiss relations.

 

 

Батбилэгийн Намуун | БиБид | 2019 оны I.26-II.06

 

Жан Жак де Дардел

Монгол Улсыг хавсран суугаа Швейцарийн Холбооны Улсын Элчин сайд

 

Амьдрал буцалсан монголын дүрслэх урлагийн салбарыг хөхиүлэн, дэмжлэг үзүүлэх зорилгоор Швейцарийн Элчин сайдын нэрэмжит урлагийн шагналыг санаачилсан ба анхны эзэн нь Батбилэгийн Намуун болсон юм. Энэхүү шинэ шагнал нь Швейцарь-Монголын харилцааг улам өргөжүүлж, төрөлжүүлэх зорилгын нэгэн илрэл болсон. Учир нь улс төрийн хэлхээ холбоо, худалдаа, хөгжлийн хамтын ажиллагаанаас илүүтэйгээр өргөн хүрээтэй соёлын харилцаа, эерэг хандлага, утга төгөлдөр солилцоо нь хүмүүсийн зүрх сэтгэлийг холбож, улмаар урт хугацааны нөхөрлөлийн харилцааг бэхжүүлдэг билээ.

 

2018 оны хавар хоёр улсын сонгон шалгаруулалтын баг, чамбай бүрдүүлсэн хэдэн арван өргөдлийн материалыг нягтлан судалсны дараа Батбилэгийн Намууныг сонгосон юм. Сүүлийн шатанд орсон хүмүүстэй видео ярилцлага хийсэн ч өөрийн биеэр уулзаж чадаагүй. Харин наадмын өмнөхөн буюу долдугаар сарын эхээр 976 урлагийн орон зайнд зохион байгуулсан ёслолын үйл ажиллагааны үеэр уралдааны ялагчийн батламжийг гардуулж өгөхдөө биечлэн уулзсан тэр мөч бол түүний сэтгэлд дулаан, энгийн, чимээгүйхэн хэрнээ гэрэлтсэн хувь чанарыг нь олж харах таатай агшин байсан юм. Тэрбээр дэлхийд алдартай Европын урлагийн сургуулиудын нэг болох Баруун Швейцарийн шинжлэх ухаан, технологийн их сургуулийн харъяа Женевийн Урлаг, дизайны (HEAD) сургуулийн резиденс хөтөлбөрт оролцох гэж байгаадаа сэтгэл хангалуун байгаа нь мэдрэгдэж байсан. Энэ аялал нь түүний хувьд эх орноосоо гарч дэлхийд анх удаа хөл тавьсан явдал биш юм. Тэрээр өмнө нь Бразил орноор нилээдгүй аялж, Болгарт өөрийн үзэсгэлэнгээ гаргасан өсөх ирээдүйтэй, олон талын авьяастай дүрслэх урлагийн хүн гэдгээ нотлоод авсан.

 

Ингээд өнгөрсөн жилийн намар болон өвлийн саруудын турш Намуун сургуульдаа сурч, өөрийн мэдлэгийн цар хүрээг өргөжүүлж чаджээ. Сурч байх хугацаандаа тэр олон орны төлөөлөл болсон оюутан багш нартай харилцаж, өөрийн үзэсгэлэнг дэлгэж, үзэгчдийн дотор нь Монгол улсын ерөнхийлөгч Халтмаагийн Баттулга байж таарсан нь гайхалтай. Намуун өөрийн бүтээлүүдээс чамлашгүй олныг Женев дэх Монгол Улсын элчин сайдын яаманд хандивлан үлдээжээ. Тэнд байсан үе, уулзсан хүмүүс, сурсан зүйлс, нөлөөлөл, эргэцүүлэл, шинэлэг бүтээл туурвих сэдэл зэргийн талаар хуваалцах эсэх нь түүний хэрэг. Гэхдээ Намуун гэрэл зургийн урлагийн талаарх мэдлэгээ улам өргөжүүлж, хөгжүүлж чадсан нь хөндлөнгийн ажиглагчийн нүдэнд илт байгаа юм. Түүний бодит байдлыг харах өнцөг, хүмүүсийн дүр төрхийг байгаллаг талаас нь харах хандлага, хэлбэр өнгөний талаарх ойлголт хэдийнээ шинэ түвшинд хүрчээ. Тухайлбал нуугдмал эсхүл нүд хуурсан зүйлсийн цаана орших олон давхар мөн чанарыг эрэн хайх болсон байна. Одоо түүний дуран будгийн бийр мэт аяглаж, дүрс, хийсвэрлэлийн дундах шугам нь сарнин, хүний хэлбэр сүнслэг нэгэн болон хувирчээ. Намуун нь хоромхон харагдах далайн эргээс холдож, илт тодорхойн хайрцгаас гарахыг хичээх болсон байна. Женев нуурын тогтоц, Альпын нуруудын сүр жавхлан, уран дүрслэлийн найрал хөгжмөөр хүрээлүүлэн суухдаа ч тэр өөрийн зохиомжийг энэ агуу бүхнээр өргөжүүлэхийг хүссэнгүй. Харин гялтагнах усны долгионд туссан дүрсүүдийн цогцолбор, дүнсгэр тэнгэр болоод манангийн нам гүм, зэврүүн байдал, дотоод цохилтоос үүдсэн сарнил, анхаарал биеэс бодол руу шилжих мөчид үлдэх гэрлийн зурвас зэрэг түүний ажлуудад буужээ. Түүний бүтээлүүдийг харсан хүнд Клод Монегийн Усан сараана эсвэл Дэвид Хокнийн усан будгийн хашгичсан өнгөнүүд бас Жон Армлэдэрийн гялалзсан дуслууд санагдаж болох ч тийн хөнгөн дүгнэлтэнд хүрэхийн өмнө түүний хийсвэр төсөөлөл оюун санаагаар нь дамжин Монгол соёлын язгуур луу аялан одсон байхыг харна.

 

Батбилэгийн Намуун нь бүтээлээ Сэтгэлийн хөг хэмээн нэрлэсэн. Гүнзгий агуулга руу бодлоо чиглүүлэхийн өмнө, тэрээр хөөрөх, гутрахын аль нь ч бай, сэтгэлийг хөдөлгөх арга дээр суурилжээ гэдгийг олж мэднэ. Ингээд түүний бүтээлүүдээс үлдсэн мэдрэмж миний дотор байсаар байх мөчид Монгол-Швейцарийн харилцаанд нэгэн шинэ бодит холбоос үүссэн нь мэдрэгдсээр байх болно.

January 26, 2019
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Munkkh Munkhbolor Ganbold

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MUNKHBOLOR GANBOLD (MUNKKH) 

Born in 1983

 

Education & Memberships 

2013     Member of Human Nature Love Freedom, Contemporary Art Movement

2007     Muthesius Fine Art College, Kiel, Germany

2006     Member of  Blue Sun Mongolian Contemporary Art Center

2002     Mongolian University of Fine Arts and Culture

1999     Green Horse Mongolian Contemporary Art College

 

Solo Exhibitions

2019     Tal Kheer, Matthias Kueper Art Gallery, Stuttgart, Germany

2017     Dream of Blue Grass, Art Space 976+, Ulaanbaatar, Mongolia

2015     Adjective, Art Space 976+, Ulaanbaatar, Mongolia

2013     Mongolian Contemporary Faces, Blue Sun Art Gallery, Ulaanbaatar, Mongolia

2013     The Daybook and Corpus, Blue Moon Art Gallery, Ulaanbaatar, Mongolia

2010     Munkkh, Edsvik Konsthall, Stockholm, Sweden

2010     Munkkh Public Art, Sergels Torg, Stockholm, Sweden

 

Group Exhibitions

2019     Sierra of Creation, Art Space 976, Ulaanbaatar, Mongolia

2018     In/Is Land, Kuandu Museum of Fine Art, Taipei, Taiwan

2018     Lost in Tngri, Art Space 976+, Ulaanbaatar, Mongolia

2018     Together, National Museum of Fine Arts, Shanghai, China

2017     Urban Implosion, International Exhibition, Asia Culture Center, Gwangju, South Korea

2017     Lost in Tngri, Mongolia Pavilion at La Biennale di Venezia 2017, Venice, Italy

2017     Performance with David Medala at Academia Bridge, Venice, Italy

2017     Nomad Spirit, International Project funded by MCASA and SDC, CACM, Ulaanbaatar

2016     Contemporary Art of Mongolia III, Art Space 976+, Ulaanbaatar, Mongolia

2015     The 7th Grand Art, Korean & Mongolian Exhibition, Mongolian National Modern Art Gallery

2013     Amalgamated, Gallery MC, New York, USA

2012     Nomadic Spirit, French Mongolian Artists, National Modern Art Gallery, Mongolia

2012     Blue Sun 10 years, Zanabazar Museum of Fine Arts, Ulaanbaatar, Mongolia

2000     Green Horse, Zanabazar Museum of Fine Arts, Ulaanbaatar, Mongolia

 

Grants & Awards

2017     Selected to present Mongolia in La Biennale di Venezia

2016     Gran Prix,  Young Artists Competition by Alliance Française & Grant for Residence in Paris

2015     Grant from Lost Children of Heaven, by MCASA and U.S . Embassy in Ulaanbaatar

2015     Special Prize, The 7th Grand Art – Mongolian Young Artists Contest

Press

2017  Reviews on exhibition Lost in Tngri at 57th Venice Art Biennale on Art Radar   Journal,, 1Fmedia Project, Italy, Oxford, UK, Arts Life, Italy, Asian Art Newspaper,   Art Flash, About Time, One Art Nation, Brooklyn Rail, National Gallery of Bahamas,   Art Now, TNT TV, Turkey

Arte Communications: MONGOLIA PAVILION 57. International Art Exhibition – La Biennale di Venezia LOST IN TNGRI (LOST IN HEAVEN)

Numero Civico: LOST IN TNGRI NATIONAL PAVILION OF MONGOLIA

Montsame.mn: Art exhibition on archaeological research made in Bulgan aimag on display

Toonot: DREAMS OF BLUE GRASS – MUNKHBOLOR GANBOLD SOLO SHOW AT ART SPACE 976+

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Karma of Eating 2017
mixed media
250×150 cm
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Self Portrait 2017
mixed media
170×90 cm
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Portrait of Eating Itself 2014
mixed media
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ID & Nisvanis Series 2017
mixed media
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ID & Nisvanis Series 2017
mixed media
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A Girl with Bubble Gum 2014
mixed media
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Baron Ungern 2017
mixed media
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ID & Nisvanis Series 2017
mixed media
130×100 cm
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Portrait of Teacher Dalkh-Ochir 2014
mixed media
170×90 cm
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January 16, 2019
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Uuriintuya Dagvasambuu

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UURIINTUYA DAGVASAMBUU
Born in 1979

 

Uuriintuya Dagvasambuu is one of most influential new generation of Mongolian artists, who adopted traditional Mongol Zurag, finding it as means of searching personal and national identity and addressing the contradictions of their lives at a time of unprecedented urbanization, financial precariousness and competing cultural influences. Drawing on traditional patterning and the experiences of Mongolian women, Uuriintuya’s paintings combine poetic and everyday imagery, creating subtle contrasts between the manufactured and the natural or organic, and between intense detail and flat planes of color. Her paintings frequently include recognizable motifs from traditional Buddhist painting and East and Central Asian aesthetics, as well as psychologically charged imagery of contemporary life. One recurrent motif in Uuriintuya’s paintings is a writhing mass of naked human bodies thrust together – struggling, copulating or just trying to coexist – cast against empty, melancholic expanses of picture plane. (text source QAGOMA)

 

Education

2004     Master’s Degree, Mongolian State University of Education

2002     Bachelor Degree, School of Fine Arts, Mongolian University of Arts and Culture

Solo Exhibitions

2018     ХАДГАЛАГДАХ, Art Space 976+, Ulaanbaatar, Mongolia
2006     I’m from there.., Museum of Mongol Costumes, Ulaanbaatar, Mongolia

Group Exhibitions

2019     Assimilation Non-Assimilation, Art Space 976+, Ulaanbaatar, Mongolia

2015     8th Asia Pacific Triennial, Queensland, Australia
2015     Contemporary Mongol Zurag, Art Space 976+, Ulaanbaatar, Mongolia
2014     5th Fukuoka Asian Art Triennale, Fukuoka, Japan
2014     Contemporary Art of Mongolia II, Art Space 976+, Ulaanbaatar, Mongolia
2013     Lost Children of Heaven, Art Space 976+, Ulaanbaatar, Mongolia
2013     Delights of the World, Art Space 976+, Ulaanbaatar, Mongolia
2013     Asian Women Artists 1984-2012, Tochigi Prefectural Museum of Fine Arts, Japan
2012     Erinerung Sprich, Plan D Gallery, Dusseldorf, Germany
2012     Mongol Zurag 10 Years, Art Gallery of UMA, Ulaanbaatar, Mongolia
2012     Arsenal 2012, Kiev Biennial, Ukraine
2012     Women in Between: Asian Women Artists 1984-2012, Fukuoka Asian Art Museum, Japan
2012     Shanghai 9th Biennial, Shanghai, China
2011     Between Heaven and Earth, Contemporary Art from the Centre of Asia Calvert 22, London, UK
2011     Modern Mongolia, Han Art Gallery, Hong Kong

2010     Smoke in the Brain, Red Ger Gallery, Arts Council of Mongolia

2009     We, Art Gallery of UMA, Ulaanbaatar, Mongolia

2009     Chinese International Gallery Exposition, Beijing, China

2009     Mongolian Contemporary Artists, Xanadu Art Gallery, Mongolia

2008     Beijing Biennale, China

2006     Ancient and Today, Art Gallery of UMA, Ulaanbaatar, Mongolia

2006     Art Expo, Las Vegas, USA

Annual Exhibitions

2013, 2015: Best Artwork of a Year, National Modern Art Gallery, Ulaanbaatar

2006, 2007, 2012: Spring, Gallery of Union of Mongolian Artists, Ulaanbaatar

2006, 2007, 2009, 2013, 2018: Best Works, Gallery of Union of Mongolian Artists, Ulaanbaatar

2000, 2002, 2004: Horse Rider Mongolian, National Modern Art Gallery, Ulaanbaatar, Mongolia

Awards

2018     Gran Prix, Best Art of the Year, Gallery of Union of Mongolian Artists, Ulaanbaatar

2013     Gran Prix, Best Art of the Year, National Modern Art Gallery, Mongolia

2012     Gran Prix, Best Art, Association of Mongol Zurag, Mongolia

Grants

2017     Goethe Institute for Documenta 14 tour

2013    Lost Children of Heaven, Mongolian Contemporary Art Support Association and U.S. State Department

2012     Grant from Kunsthalle Dusseldorf for international travel and exhibition

Press

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WE 2018
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150×60 cm
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Spring 2019
photographic print, acrylic on canvas
70×90 cm
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Assimilation 2 2019 (Uuriintuya. D, Batzorig. M)
acrylic on canvas
150×170 cm, 40×170 cm (2 pieces)
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Balance 2018
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Textile 2018
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Selfie 2018
acrylic on canvas
100×70 cm
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Untitled 2013
acryl on canvas
130×130 cm
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Refugees 2019
photographic print, acrylic on canvas
80×150 cm
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Winter 2019
photographic print, acrylic on canvas
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Order
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Unity 2018
acrylic on canvas
200×100 cm
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Selfie 2018
acrylic on canvas
150×150 cm
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Assimilation 2019 (Uuriintuya. D, Batzorig. M)
acrylic on canvas
190×250 cm
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Summer 2019
photographic print, acrylic on canvas
70×90 cm
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Queen 2018
acrylic on canvas
100×130 cm
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The Moon 2014
acrylic on canvas
90×70
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On the Road 2014
acrylic on canvas
70×149 cm
December 15, 2018
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ARTNEWS: Artist Jantsankhorol Erdenebayar to present Mongolia at 2019 Venice Biennale

By NewsNo Comments

ARTNEWS: Artist Jantsankhorol Erdenebayar to present Mongolia at 2019 Venice Biennale

Mongolian throat singing—a centuries-old practice of complex vocalizing that results in multiple pitches issuing at once in a seeming chorus of solo means—will be the focus of “a TEMPORALITY,” an interdisciplinary group project to serve as the focus of Mongolia’s pavilion at next spring’s Venice Biennale.

Mongolian artist E.Jantsankhorol will create an environment in which artists can work and perform in forms inspired by overtone singing, with sounds to be recorded and installed during the Biennale. Among the artists invited to interact is Carsten Nicolai, aka Alva Noto, a German artist and electronic-music maker who will work with throat singers in Ulaanbaatar and bring the results to Venice for the Biennale opening in May.

Curated by Gantuya Badamgarav, “a TEMPORALITY” aims to engage throat singing’s relationship to nature and ways in which it has been used to communicate with different forces. “Nowadays interaction between human-being and nature is almost extinct,” an exhibition announcement reads. “We created human-made environment surrounding us, like concrete blocks, glasses, panels and asphalts to interact with.” Throat singing, by contrast, is more weightless and weighty than all that.

See news on Art News

Image: Breath in Breath Out, courtesy of Jantsankhorol Erdenebayar

November 20, 2018
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Is/In Land | Mongolian – Taiwanese Joint Exhibition | Oct 25 – Nov 15, 2018

By ExhibitionNo Comments

SIERRA OF CREATION

Yo.Tuguldur, G.Munkhbolor and B.Bat-Erdene

Jan 20 – Feb 1, 2020

Is/In Land | Mongolian – Taiwanese Joint Exhibition | Oct 25 – Nov 15, 2018

 

In/Is Land exhibition is a conversation between Mongolian and Taiwanese artists on economic, social, political and environmental aspects of land use. Compared to densely populated Taiwan that is located on a tiny island surrounded by the ocean, Mongolia is a landlocked country with 53 times larger territory with population of only 3 million people that is 7.7 times smaller than the population of Taiwan. Despite these differences in economic disparity, both countries seem to share similar issues regarding the use of land.

 

“Is/In Land” exhibition was organized in Kuandu Museum of Fine Arts, Taipei from July 20 to September 23 and showcased artworks of 11 artists from Mongolia and Taiwan, including Enkhtaivan Ochirbat, Tuguldur Yondonjamts, Davaajargal Tsaschikher, Ganzug Sedbazar, Enkhbold Togmidshiirev, Munkhbolor Ganbold, Chu Hsiao Chi + Wong, Nixon, Li Cheng Liang, Li Ling Ling + Du Yi Fang, Lin Chen Wei Tree Tree Tree Person – Taroko Arts Residency Project. At the opening of event, Mongolian artists Ts.Davaajargal and S.Ganzug presented their interactive performance which included the worshipping of mountains surrounding the city of Taipei. The second edition of “Is/In Land” exhibition, will open at Art Space 976+, Ulaanbaatar and will showcase works by D.Bayartsetseg and L.Munguntsetseg and Chu Hsiao Chi, Kao Ya Ting, Li Cheng Liang, Li Yi Fan, Lin Chen Wei, Lin Guan Ming and Tree Tree Tree Person-Taroko Arts Residency Project. All participating artists will be involved in  a discussion on economic, spiritual and ethical associations with the land.

 

The intent of this project is to allow young artists to communicate professionally in a context of an exhibition while encouraging them to experience unfamiliar lands and cultures. With that in mind, around the time of the exhibition two Mongolian artists were sent to Taroko for a residency while the Taiwanese artists headed off on their research trip to the highland area around the time of the Ulaanbaatar exhibition. The project may be the first exchange of contemporary art between Taiwan and Mongolia. However, we hope this will be a stepping stone of creating a brand new perspective on Asia and specifically Asian art.

ЭХ ГАЗАР БА АРАЛ | Монгол-Тайваны контемпорари урлагийн солилцооны хөтөлбөр

 

ЭХ ГАЗАР БА АРАЛ – IS/IN LAND Монгол-Тайваны контемпорари урлагийн солилцооны хөтөлбөрийн хүрээнд 2018 оны 10-р сарын 12-оос 11-р сарын 4-ны хооронд Art Space 976-д тайван, монгол нийт 11 уран бүтээлчдийн хамтарсан үзэсгэлэн зохион байгуулагдаж байна.

 

Эдгээр уран бүтээлчид нь газар нутагтай холбогдон үүсч буй эдийн засаг, нийгэм, улс төр, байгаль орчин, ёс зүй, хүйн холбоот асуудлуудыг хөндөн урлагаар дамжуулан илэрхийлж байгаа юм. Далайгаар хүрээлэгдсэн Тайван арлаас далайд гарцгүй Монгол орон 53 дахин том газар нутагтай ч хүн ам нь 7.7 дахин бага, мөн амьжиргааны түвшин ч ялгаатай. Эдгээр ялгаанаас үл хамааран байгаль орчны ижил төстэй асуудлууд Монгол, Тайваны өмнө тулгараад буйг уран бүтээлчид ярьж байна.

 

Тус солилцооны хөтөлбөрийн хүрээнд 2018 оны 7-р сарын 20-оос 9-р сарын 23-ыг хүртэл Тайпейгийн Куанду Дүрслэх урлагийн музейд О.Энхтайван, Ё.Төгөлдөр, Т.Энхболд, С.Ганзүг, Г.Мөнхболор, Ц.Даваажаргал, Жу Шао Чи, Ли Чен Лиан, Ли Лин Лин, Дү И Фан, Лин Чен Вэй, Tree Tree Tree Person Тарако урлангийн хөтөлбөр, Монгол, Тайваны нийт 11 уран бүтээлчийн хамтарсан үзэсгэлэнг зохион байгуулсан юм. Үзэсгэлэнгийн нээлтийн үеэр уран бүтээлч С.Ганзүг, Ц.Даваажаргал нар Тайпей хотыг тойрон хүрээлсэн сүрлэг уулсыг сүслэн хөдөлгөөн, дуу авианы харилцан үйлдэл хийсэн. Харин энэ удаад Улаанбаатар хотын Art Space 976-д болж буй үзэсгэлэнд Монголоос Д.Баярцэцэг, Л.Мөнгөнцэцэг, Тайванаас Жу Шао Чи, Као Я Тин, Ли Чен Лиан, Ли И Фан, Лин Чен Вэй, Лин Гуан Мин нар оролцож байна. Улаанбаатарт болж буй үзэсгэлэнгийн өмнө Тайваны уран бүтээлчид Монголын хөдөө орон нутагт амьдарч судалгаа хийсэн.

 

Тус төсөл нь залуу уран бүтээлчдийг хооронд нь холбож үзэсгэлэн, мэргэжлийн асуудлаар харилцан ярилцахын сацуу өмнө нь хэзээ ч үзэж байгаагүй газар нутгаар аялж, соёлыг нь таньж мэдэх боломжийг олгохыг зорьсон юм.

October 25, 2018
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Munkhtsetseg Jalkhaajav

By ArtistNo Comments

MUNKHTSETSEG JALKHAAJAV
Born in 1969

 

Artists Statement

Words such as “healing” and “rebirth” are the key words to enter my world. Through my work I try to engage with our constant ambition of searching for your inner self and attempts of creating yourself by the idea of “becoming wholesome”. The concept I have toward a woman’s body and mindfulness is very much inspired by Mongolian traditional medical approaches and spiritual healing. In traditional medication a bird represents pulse of human vein, whereas in my art, birds represent pulse of life, pregnancy, healing, or protection. I created a human-bird character that is half woman and half crow, named Keeper of the Womb. It protects the fetus in mother’s womb. Through this, I want to show how a mother is able to stretch her body and transform her body in order to love her baby. Therefore woman is more tied to life by keeping balance life, in other words – healing life. For me the process of creating collage figures using hand torn paper and making sculptures by sewing pieces of stretch fabric are an act of trying to create wholesomeness by putting together separate pieces, like repairing.

 

Education

1993     Bachelor Degree, Academy of Fine Art, Minsk, Belarus

1987     Fine Art College, Ulaanbaatar, Mongolia

 

Solo Exhibitions

2018     INNER PASSAGE or A Journey through Vulnerability, Art Space 976+, Ulaanbaatar, Mongolia

2018     Reincarnation, Red Ger Art Gallery, Ulaanbaatar, Mongolia

2017     Healing, Toono Gallery, Ulaanbaatar, Mongolia

2015     Reincarnation, Venice Biennale, Personal Structures, Palazzo Bembo, Italy

2013     Spirits of the Steppe , Luxe Art Museum, Singapore

2012     Earthbound, Schoeni Art Gallery, Hong Kong

2012     From the Heart, Zanabazar Museum of Fine Arts, Ulaanbaatar, Mongolia

2011     Les Gardiens Du Vent, Distellerie Gallery, Bulle, Switzerland

2009     The Silence of Healing at the Edge of the World, Teo+Namfah Gallery, Bangkok, Thailand

2009     Blue Sky Reflected in the Northern Face, Striped Gallery, Tokyo, Japan

2004     House of Women, Art Gallery of UMA, Ulaanbaatar, Mongolia

2004     Indiana Memorial Gallery, Bloomington, Indiana, USA

2003     E&M, Art Gallery of UMA, Ulaanbaatar, Mongolia

2000     E&M, Nomad Art Gallery, Ulaanbaatar, Mongolia

1999     Dream of Aquaries, Art Gallery of UMA, Ulaanbaatar, Mongolia

 

Group Exhibitions

2018     Speaking Lights and Shadows, Art Space 976+, Ulaanbaatar, Mongolia

2017     Beyond Heaven and Earth: Mongolian Art In This Day and Age, China Art Museum

2017     Transcending Territories, Shin Thai Art Gallery, Huh Hot, China

2017     Under the Willow Art Salon, San Francisco, USA

2012-13    Women In-Between: Asian Women Artists 1984-2012, Fukuoka Asian and Mie Prefectural Art Museums, Japan

2012     Urban Narratives – New Contemporary Mongolian Art, Schoeni Art Gallery, Hong Kong

2011     Modern Mongolia: From Steppe to Urban Dynamics, Hanart IT Gallery, Hong Kong

2010     From Imagination to Creation, Mongolian National Modern Art Gallery, Ulaanbaatar

2010     Smoke in the Brain, Red Ger Gallery, Ulaanbaatar, Mongolia

2008     Taiwan-Fusing Biennale

2008     Beijing International Art Biennale-3, Beijing, China

2005     Beijing International Art Biennale-2, Beijing, China

2005     Contemporary Silk Road Festival, Worth Ryder Gallery, Berkeley, California, USA

2003     The Beppu Asia Contemporary Art Exhibition, B-CON Plaza, Japan

2002     Epic of the Nomads, Moran Modern Art Museum, South Korea

2000     Progress of the World’s Women, Lobby Center of UN, New York City, USA

2000     Women of the World, White Columns Gallery, New York City, USA

2001     Painting, Som Arts, San Francisco, USA

2000     Nine Treasure, Fraum Museum, Bonn, Germany

2000     Shaman of the Chinggis Khan, Seoul, South Korea

2000     00-87, Art Gallery of UMA, Ulaanbaatar, Mongolia

 

Awards

2013     Goo Maral – Art Prize

1995     Prize from Union of Mongolian Artists

 

Grants

2012     From the Heart, Arts Council of Mongolia Grant

2003     Exhibition-E&M, Arts Council of Mongolia Grant

 

Art Projects

2018     Reincarnation, contemporary dance, Motion Mongolia Dance Festival, Ulaanbaatar

Press

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The Bird Keeper of the Womb 2013
oil on canvas
124X114 cm
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Birth Mantra 2013
oil on canvas
150×100 cm
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My Secret Power 2018
mixed media on paper
53×240 cm
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Chance 2018
mixed media on paper
53×240 cm
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Miscarriage-2 2011
mixed media on sa paper
80×55 cm
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Reborn 1 2017
oil, embroidery and print on paper
120×53 cm
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Reincarnation 2018
stretch fabric, thread, metal wire, tissue and sponge
156x33x33 cm , 176x30x30 cm
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[vc_single_image image=”2319″ img_size=”full” alignment=”center” onclick=”link_image”]
Self-Creation 2018
stretch fabric, thread, synthetic hair and sponge
67x70x34 cm
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[vc_single_image image=”2313″ img_size=”full” alignment=”center” onclick=”link_image”]
Reborn 2 2017
oil, embroidery and print on paper
120×53 cm
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[vc_single_image image=”2318″ img_size=”full” alignment=”center” onclick=”link_image”]
Look Up 2012
bronze silver patina
62x38x28 cm
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[vc_single_image image=”1618″ img_size=”full” alignment=”center” onclick=”link_image”]
Miscarriage-3 2012
mixed media on sa paper
80×55 cm
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My Secret Power-1 2012
mixed media on sa paper
80X55 cm
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The Bird Keeper 2013
bronze with silver patina
40x40x30 cm
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Baby Buddha 2013
bronze silver patina
40x37x30 cm
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September 27, 2018
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Khishigsuren Batdelger

By ArtistNo Comments

KHISHIGSUREN BATDELGER

Born in 1983

Member of Union of Mongolian Artists

 

Education
2005     Bachelor Degree, School of Fine Arts at the Mongolian University of Arts and Culture

 

Solo Exhibitions

2019     Chandmani, Art Space 976+, Ulaanbaatar, Mongolia

2018     Silent Conversation, Art Space 976+, Ulaanbaatar, Mongolia
2008     Sound of Steppe, Xanadu Art Gallery, Ulaanbaatar, Mongolia

 

Joint Exhibitions

2018     Beautiful Mongolia, Art Gallery of UMA, Ulaanbaatar, Mongolia

2018     10th Exhibition by Distinguished Artists of Mongolia, Daejeon, South Korea

2017     15th Asia Arts Festival, Ningbo Museum of Art, China

2017     Beyond Heaven and Earth, China Art Museum, Shanghai, China

2017     Beautiful Mongolia, Art Gallery of UMA, Ulaanbaatar, Mongolia

2016     Seoul Art Show, South Korea

2016     DIAS, Daejeon, South Korea

2016     Silk Road, Art Gallery of UMA, Ulaanbaatar, Mongolia

2015     International Modern Art Exhibition, Tokyo, Japan

2015     Japanese-Mongolian artists’ exhibition, Art Gallery of UMA, Mongolia
2014     C3, Art Gallery of UMA, Ulaanbaatar, Mongolia
2013     Perfect Harmony, Art Space 976+, Ulaanbaatar, Mongolia

2011     Etugen Sky, Art Gallery of UMA, Ulaanbaatar, Mongolia

2009     Equine Affair, Pomona, CA, USA

2009     My Color, Zanabazar Museum of Fine Arts, Ulaanbaatar, Mongolia
2008     Art Ireland, Dublin, Ireland

2008     Moment, Pearl Art Gallery, Ulaanbaatar, Mongolia
2007     Mongolian Kingdom of the Horse, Arndean Gallery, London, UK
2007     Today, Xanadu Gallery, Ulaanbaatar, Mongolia
2007     Blue Current, Zanabazar Museum of Fine Arts, Ulaanbaatar, Mongolia
2006     Seeking for the True Sense, Xanadu Gallery, Ulaanbaatar, Mongolia
2006     Puro Art, Vigo, Spain
2006     Color and Melody, Ghinggis Art Gallery, Ulaanbaatar, Mongolia
2006     White Triangle Zanabazar Museum of Fine Arts , Ulaanbaatar, Mongolia
2002     New Wind, Art Gallery of UMA, Ulaanbaatar, Mongolia

 

Annual Exhibitions

2016-2017     Best Works, Art Gallery of UMA, Ulaanbaatar, Mongolia

2015-2016     Grand Art, Modern Art Gallery, Ulaanbaatar, Mongolia

2009, 2011, 2016     Best Works, National Modern Art Gallery, Ulaanbaatar, Mongolia

2009-2011, 2014, 2016     Golden Brush, Art Gallery of UMA, Ulaanbaatar, Mongolia

2008-2011     New Art Works, Art Gallery of UMA, Ulaanbaatar, Mongolia

2006-2009     New Century Art, Fine Art Museum, Ulaanbaatar, Mongolia

2005, 2008, 2010     Nomadic, Zanabazar Museum of Fine Arts, Ulaanbaatar, Mongolia

2004-2016     Spring, Art Gallery of UMA, Ulaanbaatar, Mongolia

 

Awards and Residencies
2014     Nomadic Art Residency Fellowship Program, Arts Councils of Mongolia and Korea
2006     1st Prize, Breath of Free Space, exhibition, Ulaanbaatar, Mongolia

2003     1st Place, Ice Art Competition by Governor’s Office of Ulaanbaatar City, Mongolia

2000     Golden Medal, National Competition organized by Children Palace, Mongolia

Press

Minnesota Mongolia: Day 25 — Art Space 976, Union of Mongolian Artists Gallery & Zanabazar Museum of Fine Arts Gallery

UB Post: PERFECT HARMONY blends the modern and traditional through art and music

 

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