Ulaanbaatar, Mongolia / National Modern Art Gallery Уран Зургийн Галерей / Walk 131
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The Mongolian National Modern Art Gallery (MNMAG) collects, preserves and exhibits modern and contemporary Mongolian artworks. The collection serves an important role in documenting the social, historical and cultural evolution of Mongolia. In 1991, MNMAG separated from the Fine Arts Museum of Mongolia and became an independent organisation, dedicated to increasing public appreciation for Mongolian modern visual artworks.
The MNMAG is a government-supported arts organisation. Its collection forms the basis for providing aesthetic experiences and art education to the public. The gallery’s unique collection consists of Mongolian modern and contemporary paintings, sculptures, prints, crafts and other new forms of art and artefacts which possess originality and a Mongolian identity. The artworks cover a range of themes from history and cultural traditions to landscapes and contemporary expressions.
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Mongolian National Gallery of Art
Visit to the art gallery in Ulaanbaatar, Mongolia. Vizita la galeria de artă din Ulaanbaatar, Mongolia. Visite de la galerie d'art à Oulan-Bator, en Mongolie. ウランバートル、モンゴルのアートギャラリーにアクセスしてください。زيارة إلى معرض الفن في أولان باتور، منغوليا. ccBesök på konsthallen i Ulaanbaatar, Mongoliet. Besuch der Kunstgalerie in Ulaanbaatar, Mongolei. 울란바토르, 몽골에있는 아트 갤러리에 방문. Visita a la galería de arte en Ulaanbaatar, Mongolia. Відвідування художньої галереї в Улан-Баторі, Монголія. Wizyta w galerii sztuki w Ułan Bator, Mongolia. ביקור בגלריה לאמנות באולן בטור, מונגוליה. cc Bezoek aan de kunstgalerij in Ulaanbaatar, Mongolië. Návštěva galerie umění v Ulánbátaru, Mongolsko.
Mongolian Art Gallery Visit - 'UB Art'
UB Art Gallery's Facebook Page:
Originally recorded on December 10th, 2016
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DISCLAIMER: The contents of this video are mine and mine alone. They do not reflect any ideals of the Mongolian government, the United States government or the Peace Corps.
ART ZAYA.............MONGOLIA
A mongol nők szoros kapcsolatban állnak a természettel. Kemény életet élnek a zord sztyeppéken.
Inspirációt ad egyedi belső világuk, a szokásaik és hagyományaik.
Megpróbálom elmondani a titkot:
az emberi kapcsolatok jellegét, a a boldogságot ,nyomorúságot a történelmet és a modern életet.
Zaya:
When I was only a kid back in the late 1970s and early 1980s, I used to draw portraits of Buddhist deities without understanding their religious connotations. At that time, in our country, communist socio-political systems were beginning to crumble, which fostered this religious renewal.
Looking back many years later, I believe I may have found the real deity to draw. And that deity is Women. Especially, Mongolia's nomadic women, their close relations with nature, their hard life out on the harsh Mongolian steppe, their unique inner-world, and the customs and traditions they carry on, give me tremendous inspiration and subject matter for most of my work.
Through the distinctive features of those Mongolian women's expressions, I try to tell a secret that has never being told, of happiness and misery, of humanity's relations with nature, and of history and contemporary lives and how they connect with us.
info.artzaya@gmail.com
Mongolian Fine Art Masterpiece ‘Mother’
MONTSAME National News Agency in cooperation with the Mongolian National Modern Art Gallery is presenting a series of Mongolian fine art masterpieces. This time, we are presenting the artwork, ‘Mother’ by the Union of Mongolian Artists’Prize winner G.Sodnomsambuu known as Soosai.
Painted with gouache on a 75x85 cm paper in 1967, the artwork depicts a mother not realistically but through shapes and colors. Love and tenderness emphasized by the lotus flower makes the painting more opulent. Color white symbolizes purity and in this artwork it illustrates the sanctity of a mother. Red is a color of agony that implicitly represents fire, energy, joy and passionate love. By painting the background with this glaring color, the artist intended to demonstrate the great struggle behind mother’s love, rather than attracting the audience or amplifying his expression. One can observethat a dark shadow is hidden behind the white figure which represents mother. More than that, the flowers blooming and dying, after dispersing seeds reflect the law of nature.
Because of the yin and yang portrayed on the top of the painting, some researchers relate it to the cave paintings. Academician Akim once said “Works of Soosai give the feeling of aesthetic pleasure along with the aspiration to understand the meaning and nature of it.”
Artist G.Sodnomsambuu started his career in 1954 as art director at the ‘EldevOchir’ movie theatre. In 1958, he received training at the Academy of Fine Arts in Prague. The painting ‘Mother’ was presented at the ‘First exhibition of young painters’ at UMA’s exhibition hall in 1968.
Early Contemporary Art in Post-Soviet Mongolia | Tsendpurev Tsegmid
Event: ACMS Speaker Series
Speaker: Dr. Tsendpurev Tsegmid, Vanjil Art Institute
Title of Presentation: Early Contemporary Art in Post-Soviet Mongolia Where is Green Horse Galloping now?
Date: November 19, 2019
Dr Tsegmid presents the collective work of the Green Horse Society (1990-2002), pioneers of contemporary art in post-Soviet Mongolia. The academic lecture is the first public introduction of the society based on the article published in the peer reviewed journal produced by the Afterall Research Centre of the University of the Arts London, located at Central Saint Martins, UK. “In Mongolia, contemporary art begins to shape itself with the post-communist art movement Nogoon Mori (Green Horse Society, GHS), which emerged in the early 1990s out of perestroika and the Mongolian Democratic Revolution. In her essay, Tsendpurev Tsegmid details how its members broke from the tradition of Socialist Realism and its attendant aesthetic and intellectual suppression by looking afresh at pre-communist Mongolian culture (the time when Genghis Khan emerged from history to replace Vladimir Lenin as a figurehead). The GHS found their theoretical
basis not in the urban centre, but in the spirituality, aesthetics and cultural practices of the remote provinces where people lived off the land in much the same way as had been done for thousands of years. Not without incident, their experimental approach to learning led them to develop the
Green Horse Modern Art College; students who trained at that experimental school continue to influence contemporary practices in the country today.” (Candice Hopkins, Co-editor, Afterall, Issue 44, 2017)
“Million Days of Mongolia” photo exhibition reveals ancient rock art
Mongolia is rich in remains of rock paintings and the rock paintings attract world attention with its design, composition and cultural and historical values.
A photo exhibition of petroglyphs entitled ‘Million Days of Mongolia’ which tell about nomads’ culture, their mental change and Mongolian history dating back 17-18 thousand years, opened on April 24, in the Mongolian National Modern Art Gallery.
At the exhibition more than 130 photos have been displayed out of 3000 photos taken by Mr. B.Bayar in Bayan-Ulgii, Gobi-Altai, Umnugobi, Sukhbaatar, Khentii and Arkhangai aimags.
At the initiative of Head of ‘Chuluun Shastir’ NGO P.Tsagaan, the exhibition was co-organized by ‘Steppe Publishing’ Company, ‘Semuun’ studio and the Arts Council of Mongolia with aims to protect the art immortalized on the rock and to publicize it.
Synchro: P.Tsagaan, Head of ‘Chuluun Shastir’ NGO.
“The rock paintings could be a unique tourism product and a leverage to the development when they are properly preserved and put into research circulation”
“Rock painting is an art work code transmitted to us expressing dream, omen and mental world of generations of people living in this land from thousands of years ago until today. It is an invaluable heritage not only to Mongolians but also to humankind. If one observes rock paintings carefully, it contains everything such as happiness, sadness, livelihood and culture. We have to proud of it” said director B.Bayar.
The exhibition will last through April 30.
Places to Go | Art Gallery | MNB World
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Mongolian fine art masterpiece ‘Wrestlers’
MONTSAME National News Agency in cooperation with the Mongolian National Modern Gallery is presenting a series of Mongolian fine art masterpieces.
This time, we are presenting the oil painting ‘Wrestlers’ by B.Chogsom.
People’s Painter of Mongolia, State Honored Cultural Figure and People’s Artist of France B.Chogsom created ‘Wrestler’ in 1972 using European painting technique to create distance. Moreover, the oil on canvas is a blend of realism and modernism.
‘Wrestler’ clearly shows the artist’s main characteristics: vivid colors; body movement and sharp angles.
Artists B.Chogsom once said, “I was awarded with the title ‘People’s Artist of France’. In relation, former Ambassador of France to Mongolia Mr. Jacques-Olivier Manent in company with other officials handed over the prize to me in 2003. France is the cultural center of Europe. I think that the country appreciated my works so I was awarded. My life in France newly opened my artistic vision”.
Mongolian traditional utensils on display
On February 8, opening ceremony of exhibition named ‘Mongolian traditional vessel’ took place at the National Museum of Mongolia.
Through the exhibition, the National Museum of Mongolia is presenting over 170 kitchen utensils and vessels made by Mongolian skilled craftsmen from different places.
Utensil and vessel are inseparable part of human development history and utensils of Mongolians have been solid, portable with light weight which can be durable and easily carried during migrations.
Mongolian craftsmen used to make traditional storage boxes (avdar), barrel and trough mostly with birch, pine, cedar, cypress tree and sandalwood. Whereas, they were using tannery to make durable food containers for liquids like dashmag, khukhuur-leather container for making fermented mare milk-airag and tulam.
The exhibition is attracting visitors with its exhibits including two traditional silver tea pot with luxurious design and dragon shaped handles and silver bowels being used by Marshal Choibalsan and Tsedenbal as well as Mongolian wooden plate decorated with gold, silver, coral and pearl which is used for religious rituals, golden teapot and dishes and archeological findings which date back to ancient times such as stone dishes and ladle were on focus.
The exhibition will be open until March 14 to the public free of charge.
Understanding Contemporary Art | Gantuya Badamgarav | TEDxUlaanbaatar
Despite her Master degree in macroeconomics, Gantuya decided to follow her passion and quit her successful career. In her talk, she shares how arts inspired her to contribute to the development of Mongolian contemporary artists at local as well as international level. Gantuya Badamgarav is the First Commissioner of Mongolia Pavilion in Venice Biennale and holds an MA in macro-economic policy from Williams College, USA. Following her passion, she decided to quit her successful career and established 976 Art Gallery and Mongolian Contemporary Art Support Association in 2012 with the aim to improve competitive capacity of Mongolian artists at domestic and international platforms. Within only 5 years of experience in art sector, Gana was able to initiate and organize first and second Mongolia participations in Venice Art Biennale and partnered with 8th Asia Pacific Triennial and Documenta 14 to involve Mongolian artists. Through her initiatives and efforts, more than 40 Mongolian artists were able to receive small and large international grants and participated in various international exhibitions. This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at
A New York Artist in Mongolia
New York artiste Valley Burke shows her stuff in Mongolia, sharing the Xanadhu Gallery in Ulanbaatar with Mongolian artists D. Soyolma and Ts. Bolorma.
Mongolian artist Munkhtsetseg Jalkhaajav - interview at Schoeni Art Gallery
April 2012 - at Schoeni Art Gallery, Hong Kong
Schoeni Art Gallery is pleased to hold the first Hong Kong solo exhibition for Mongolian artist Munkhtsetseg Jalkhaajav (who is also known as Mugi).
As the international art scene and market continues to strive to find the new threshold of all frontiers (whether it be the visual, conceptual or financial), Mongolian artists have garnered more and more attention. Mugi is one of the most famous female contemporary artists in Ulaanbaatar (UB), Mongolia.
Mugi's work is rich with what appear to be contradictions and are actually the very originality and strength of her visual expression, supporting the cohesion of her message through all three bodies of work: paintings, collages on sa paper, soft sculptures, which all are in conversation with one another both in terms of form and content. The artist for instance attributes the genesis of the sculptures to her paintings as she describes them as a three dimensional elaboration of her first craft.
Depicting womanhood from the universal to the personal, coming from a standpoint of equality indigenous to Mongolian history and society, dwelling on shamanism or traditional Mongolian medicine and contemporary global unbalances with Mother Nature, Mugi uses her hands, brushes or needles to reveal her own introspection as well as the cultural one her country is still undergoing, healing personal and collective losses in the process. In stillness in her paintings, reminiscent of icon paintings, to softness in fabric sculpture, inspired by such unique international vanguard artists such as Yayoi Kusama, Louise Bourgeois, Kiki Smith or Hans Arp as well as by Mongolian Buddhist sculpture master Zanabazar (1635--1723), but also by stage design, which she studied in Belarus, and traditional Mongolian clothes making, her works have equally unexpected qualities in each medium; there is the texture and materiality in painting, the earth and stone natural tones (blue or green possibly evoking traditional ornaments of Central Asia), or the flexibility and metallic human produced tones (maybe another appropriated reference to Zanabazar's art) of her sculptures. Using Western media to explore Mongolian roots, traditions and beliefs, notably shamanistic ones, Mugi articulates aspects of culture that travel beyond borders.
In recent years, Mugi has explored the female body, with an emphasis on hair (a symbol of physical power and rooting in Mongolian culture), motherhood and the relationship with animals, which are used as symbols whether illustrative, such as birds representing heart beats in traditional Mongolian medicine, or spiritual as in the Mongolian beliefs in their healing power. Her paintings uncover external appearances through nudity and convey sentimentality and stoicism (the later being an attribute of the nomadic Mongolian people), while her collages are looking beyond the surface and unveiling internal organs, which are at the source of life and life-giving and even life-affirming in society through descendants. The soft sculptures communicate the resulting questions and anguish from being at the mercy of this unseen biological mechanism within us. Healing is at the core of her work, both through the process of creating and also through seeking understanding, in that sense the collages are perfectly binding the paintings and soft-sculpture in the artist's personal and cultural quest for identity. In that regard, depicting nudity in itself is a statement as it departs from the rules of the totalitarian puritanism of Social Realism.
Today’s Mongolia through the lens of photographers
The United Association of Mongolian Photographers initiated the ‘Mongolia Today’ program aimed at promoting the country’s development, culture and customs to the world, and enriching the archives of international media agencies with Mongolian themed photos. Within the project international photographers of 6 foreign agencies and national photographers took a week photo tour in Ulaanbaatar, Darkhan, Erdenet cities and tourism regions.
A summary photo exhibition opened at the Mongolian National Modern Art Gallery and it will run until October 17.
The project is being implemented jointly by the Council on Mongolian National Brands, MONTSAME News Agency and United Association of Mongolian Photographers NGO.
Photographers of TASS, Ria Novosti, Xinhua, CNTV, Kyodo News and Photographic Society of Japan took part in the program at the invitation. The exhibition allows visitors
to see the images of Mongolia through the lenses of international photojournalists.
intro National Museum of Mongolia.flv
Mongolian Fine Art Masterpiece: “The Himalayan Mountains”
MONTSAME National News Agency in cooperation with the Mongolian National Modern Art Gallery is presenting a series of Mongolian fine art masterpieces. This time, we are presenting the artwork, Himalayan Mountains, which was made by State Honored Cultural Artist M.Tsembeldorj.
The artwork was made with oil paint on a 70x181 ratio canvas in 1977. As M.Tsembeldorj was the first person to become trained in restoring artworks in Japan. Once he had the chance to take in the exquisite view of the Himalayan Mountains from the airplane window he drew a quick draft and made sure to remember it clearly, which later on became this valuable artwork.
The ‘Himalayan Mountains’ artwork portrays the colors, ratios and the summits of the Mountains to the point that one could believe it is real. You could see foggy mountain tops as well as the distant mountains, which is depicts in a lighter color. The artwork looks more lively with the warm yellow color of the morning sun in the midst of the cold blue mountains and a touch of green.
The clear blue depiction of the mountains brings joy to its viewers. As the artist created the artwork of the Himalayas from the depth of his memories with realistic style, it’s no wonder that it makes the viewers feel as if it’s seen through their own eyes.
The artist created over 2,000 artworks in his lifetime, most of which is now a part of collections owned by foreign art collectors.
Tsenher tengeriin tsaana
Created as part of an exhibition at the Mongolian National Modern Art Museum, Behind The Blue Sky depicts an unmentionable love between two Mongolian boys - one from the capital city of Ulaanbaatar, and the other, a nomadic herder from the countryside. To protect the identities of the Mongolian actors, their faces are obscured by a khadag, a traditional blue scarf.
Created by Sean Devaney & Brandt Miller
Official Selection:
- 2009 Lesbisch Schwule Filmtage Hamburg (Germany)
- 2009 Uppsala Kortfilmfestival (Sweden)
- 2010 Torino GLBT Film Festival (Italy)
- 2010 NYC Downtown Short Film Festival (USA)
- 2010 NewFest (USA)
- 2010 Barcelona International Gay & Lesbian Festival (Spain)
- 2010 Mix Brasil Film Festival (Brazil)
Passion | Contortionist | MNB World
Do you know about the art of contortion?
Contortion showcases a combination of athleticism and creativity.
#MNB #MNBWorld #Angar #Passion #Contortion
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Mongolian Fine Art Masterpiece: ‘Students on Gobi’
MONTSAME National News Agency in cooperation with the Mongolian National Modern Art Gallery is presenting a series of Mongolian fine art masterpieces. This time, we are presenting the artwork, ‘Students on Gobi’ by People’s Painter of Mongolia, State Prize Laureate and State Honored Cultural Figure L.Namkhaitseren.
In 1962, the artist created the artwork on 190:130 cm canvas with oil, depicting hardworking and perseverant students working in Gobi and beautiful autumn scenery.
Back in time, students and youths used to participate in development works in the countryside during their summer vacation. As representative of those youths, the picture shows two men helping the girl to get some water from a well.
The artwork portrays youth strength, power, joy, beautiful scenery of Gobi in a very unique way. Moreover, yellow sky makes the viewers feel like as if they are in Gobi during hot summer days.
Old-society was depicted as the dried and cracked lands whereas the acts of youth: digging a well in Gobi, helping the girl to get water from it and the well water wetting the cracked land represent kindness, foundation of new-society and its development.
A few camels, portrayed on the top-left corner, emphasizes the beauty of Gobi more. Painter L.Namkhaitseren also showed each character with smiling faces, which fills the painting with joy.
The artwork ‘Students on Gobi’ is considered as one of the best pieces by renowned figure of fine arts Luvsansharavyn Namkhaitseren, who was Mongolian first engineer of auto road and bridge and founder of Mongolian jazz music orchestra, and the State Academic Theatre of Opera and Ballet.
Mongolian Fine Art Masterpiece “After Work”
MONTSAME National News Agency in cooperation with the Mongolian National Modern Art Gallery is presenting a series of Mongolian fine art masterpieces. This time, we are presenting the masterpiece ‘After Work’ by G.Odon.
Artist G.Odon created the ‘After Work’ based on his summer life. When he was a student, G.Odon had used to help his mother make hay and prepare their winter camp (uvuljuu) during his summer holiday. In summer of 1947, G.Odon observed her mother placing a pot on stove and building a fire with dung fuel when he was approaching home after having finished cutting hay and rolling hay bale. The scenery of that moment made him urgently create a quick scratch using oil paints.
In 1952, G.Odon came up with an idea to turn his old scratch into the piece ‘After Work’ when he met old man with black beard carrying a sack in the street. At first, he just wanted to paint a portrait of the old man, but he felt unsatisfying for him. So, he decided to make the old man as the main character of ‘After Work’. Afterwards, he started developing the composition of the painting.
He created the work with composition that the old man is surrounded by people of different ages with different characteristics.
Although G.Odon disguised features of real models in his painting, it turned out to be similar to the real models: brigade commander old man Choivoon, on his left hand another old man Baldansambuu in red deel, a university student reading a newspaper, a worried girl in blue shirt, a man who recently discharged from military and a man who getting scolded by the others.
G.Odon painted all elements from real objects including characters, horse mower, horse collar, metal plates for fastening saddle, kitchen appliances, food and drink, so the painting depicts the event as if it was in real life.
Artist G.Odon wrote about how he created ‘After Work’ on the second issue of the magazine ‘Art of Painting’ in 1979.
G.Odon aimed at depicting country life and cooperative movement in the 1950s and benefits of working together. Moreover, the artist carefully considered to make his work as a research material for future generations, including how the elder people were role models to youths with their acts and the way of living, what labor tools were used and even how was the clothing of that time.