Urban Nomadism" double solo exhibition of Mongolian artists Batelzolig and Nomin.
Curator: Gu Zhenqing.
Producer: Lv Hongrong.
Opening opening: 16:00 on January 31, 2024
Dates: January 31, 2024 to March 17, 2024.
Venue: Jupiter Art Museum, No. 6, Blue Flower Road, Futian District, Shenzhen, Guangdong Province.
Participating artists: Baatarzorig Batjargal, Nomin Bold
Organizer: Shenzhen Jupiter Art Museum.
Support: Beijing Lispace.
Executive Curator: Zhu Zijie, Ding Xinhua.
Curatorial Assistants: Liu Xingchen, Liu Yuning.
Exhibition Executive Directors: Chen Guanheng, Ling Ping.
Exhibition execution: Li Rui, Liu Yue.
*Publicity: Wan Yiqi, Lu Minqian.
Ticket operation: Lu Yijun, Xie Zhaogeng.
Administration: Xiao Qiuxia.
Urban Nomad "Battellzolig and Nomin" double solo exhibition opens at the Jupiter Museum on January 31, 2024.
At 4 p.m. on January 31, 2024, the high-profile double solo exhibition "Urban Nomad" was grandly opened at the Jupiter Art Museum in Shenzhen. Curated by Gu Zhenqing and produced by Lu Hongrong, director of the Jupiter Art Museum, the exhibition was attended by Mongolian artists Baatarzorig Batjargal and Nomin Bold.
At the opening ceremony, curator Gu Zhenqing delivered a speech, in which he explained the unique theme of "urban nomadism" in depth and introduced the first "International Workshop" artist residency program launched by the Jupiter Art Museum in 2024. The three main elements of nomadism are herders, herds, and steppe lands. In the "International Workshop" program, where artists migrate from one city to another for short-term residency and creation, artists are "shepherds" in the city. The works created by the artists on the spot are the "herds" that they graze with their minds. Various art bases, such as resident apartments, workshops, and art museums, scattered in different urban scenes, are the artist's "grassland hometown". In the context of the exchange of various international art villages and international art exhibitions, urban nomadism has become a real expression and composite experience of the nomadic spirit of human beings and the global localization of modern civilization, and has given birth to a Deleuze-like cultural rhizome system.
At the opening ceremony, Nuomin expressed his gratitude to the organizer Jupiter Art Museum for the professional operation of the first "International Workshop" in 2024 in his artist speech. She mentioned that on January 9, 2024, she and Battellzolig came to Shenzhen from Ulaanbaatar, Mongolia to launch the 24-day Jupiter Art Museum's "International Workshop" Shenzhen residency program. With the planning, arrangement and assistance of the museum and the executive curatorial team, they visited a number of local art museums and art institutions in the Greater Bay Area, and had many in-depth exchanges with local artists, curators and art institution managers in Shenzhen. At the same time, they also created a number of oil paintings, installations and AIGC** works in the workshop, and successfully arranged the exhibition. At the opening ceremony of "Urban Nomad", many audiences and guests were infected by the shamanic spirit in the works of Batelzolig and Nomin, the concept of "Tengri", and the unique cosmology, cultural identity, exoticism and differentiated charm conveyed by the aesthetics of urban nomadism, and had all kinds of unexpected empathy and resonance with the connotation and meaning of the work.
The Mongolian word for "Tengri" is"Immortal Heaven", which is a profound traditional concept of Mongolian culture. For a people who roam the Eurasian steppes, the boundless and ubiquitous canopy "Tengri" has been endowed with a unique spiritual meaning by Mongolian artists. Emphasizing the unity of the four seas and the harmony of heaven and man.
1. The ultimate value of human beings in harmony with the entire universe is actually the proper meaning of the concept of "Tengger". At the end of the 1940s, the Mongolian painter Nyam-Osoryn Tsultem (1923-2001) initiated a style of painting that he named "Mongol Zurag". This style has become a unique art form that carries and engraves the cultural genes of "Tengri", protects and highlights the cultural identity and value of the Mongolian people. From the yurt education and the cultural inheritance of Tibetan Buddhist monasteries, Nyamu Osorren Tsoletem excavated and absorbed the cultural heritage of the Zanabazar school and the ikh khüree school in traditional Mongolian art, and tried to build the "Mongolian Zulag" into a revival movement of Mongolian traditional painting, and embarked on an artistic path that was not only contrary to the orthodox Soviet oil painting education system, but also different from Tibetan Buddhist art. Battarzolig and Nomin are taught by Namandakh Tsultem at the Mongolian Zulag painting class at the Mongolian University of Arts and Culture. She was the daughter of Niam's Osorren Tsoletem and a leading advocate of the "Mongolian Zulag" movement. After graduating from the Mongolian University of Arts and Culture in 2005, Batelzolig and Nomin became the backbone of the "Mongolian Zulag" movement. They integrate the handicrafts, materials and recipes from traditional Chinese color and ink paintings, thangkas, Persian miniature paintings, and European Tempera into the "Mongolian Zulag", and constantly refresh the creative outlook with a comprehensive approach that integrates and shifts paradigms. Combining global reflection with European and American consumerist cultural criticism, they have created "Mongolian Zulag" as a unique cultural identity of Mongolian contemporary art. In 2015, Batterzolig and Nomin participated in the Bodrum Art Biennale in Turkey, and since then, they have been selected for various international biennials, and continue to export "Mongolian Zulag" art in international exhibition venues, gradually forming a visual cultural phenomenon in the context of communication. They both participated in the 8th Asia-Pacific Triennial at the Queensland Art Gallery in Australia in 2015; In 2018, the 2nd Yinchuan Biennale and the 1st Guang'an Field Art Biennale at Yinchuan Art Museum; 2020 Bangkok Biennale, Mediation Biennale in Luz, Poland, 10th Mediation Biennale in Istanbul in 2023, 3rd OFF Biennale in Cairo in Saladin, Egypt. Nomin has also participated in documenta 14 in 2017 and the 14th Curitiba International Biennale in Brazil in 2019, becoming one of Mongolia's most internationally renowned artists, and will again participate in the Asia-Pacific Triennial at the Queensland Art Gallery in Australia in 2024. In April 2024, Batelzolig will participate in a parallel exhibition of the Venice Biennale, organized by the Mongolian Artists Union, with "Mongolian Zulag" as the visual element.
It is reported that the double solo exhibition of "Urban Nomad" Batterzolig and Nomin will be on display from January 31, 2024 to March 17, 2024.
On January 31, 2024, the opening ceremony of the double solo exhibition of "Urban Nomadism" at Jupiter Art Museum, Batelzolig and Nuomin, curator Gu Zhenqing delivered a speech.
On January 31, 2024, at the opening ceremony of the double solo exhibition of "Urban Nomadism" at Jupiter Art Museum, Lv Hongrong, the producer and director of Shenzhen Jupiter Art Museum, delivered a speech.
On January 31, 2024, at the Jupiter Art Museum, curator Gu Zhenqing hosted the opening ceremony of the double solo exhibition of "Urban Nomadism" by Batelzolig and Nuo Min, and the artist Nuo Min delivered a thank you speech.
On January 31, 2024, at the Jupiter Art Museum, the opening ceremony of the double solo exhibition of "Urban Nomad" Battelzolig and Nuomin, the participating artist Battellzolig recorded the video on the spot.
On January 31, 2024, at the Jupiter Art Museum, the opening ceremony of the double solo exhibition of "Urban Nomadism" Batelzolig and Nuo Min, curator Gu Zhenqing guided the artist Nuo Min's oil painting "Anti-Parallel 2".
On January 31, 2024, at the Jupiter Art Museum, the opening ceremony of the double solo exhibition of "Urban Nomad" Battellzolig and Nuo Min, curator Gu Zhenqing guided the artist Nuo Min's installation "Chrysalis".
On January 31, 2024, at the Jupiter Art Museum, at the opening ceremony of the double solo exhibition of "Urban Nomadism" Batterzolig and Nuomin, curator Gu Zhenqing guided the three ** works "Looking for Lulu Dragon", "Dawa, Miagma, Lagwa, Prev, Bassan, Bianbo, Niamand and Dawa" and "Empty Nest" cooperated by artists Bad Zolig and Nomin
On January 31, 2024, at the Jupiter Art Museum, at the opening ceremony of the double solo exhibition of "Urban Nomad" Battellzolig and Nuomin, the opening guests took a group photo with the artist Nuomin's installation "Chrysalis" as the foreground. From left, Jupiter Art Museum Director Lu Hongrong, artist Nuo Min, artist Bart Zolig and his second son Tengri, and curator Gu Zhenqing.
On January 31, 2024, at the Jupiter Art Museum, at the opening ceremony of the double solo exhibition of "Urban Nomad" Battellzolig and Nuomin, the audience carefully appreciated the artist Nuomin's oil painting "Anti-Parallel 2".
Jupiter Art Museum, January 31, 2024, "Urban Nomad" Battle Zolig and Nuo Min double solo exhibition view.
On January 28, 2024, at the Jupiter Art Museum, the opening of the double exhibition of "Urban Nomad" Batterzolig and Nomin is imminent, and the Mongolian artist Nomin who participated in the residency program is painting the acrylic oil painting "Luck".
Preface to the exhibition "Urban Nomadism, Searching for the Homeland of Mankind".
Wen curator: Gu Zhenqing.
The soul has a source and a destination. In fact, this origin and destination come from the original hometown of the common spiritual civilization and spiritual heritage of mankind. Yuanxiang is a spiritual home that is deeper, broader and more metaphysical than ordinary homes. The original hometown is the source of human civilization and humanistic knowledge, and it is also the ultimate destination of the spiritual world and the spiritual world. The original country is both the past and the exit of the future. The hometown is the source of various long-standing cultural archetypes of human beings, and it is also the value orientation of various humanistic progress and knowledge production. The original hometown is like a rushing water of time, which flows endlessly, dominating and influencing the civilization process of human society. The inheritance, transformation, creation, and refreshment of human civilization have brought together various rhizomes, veins, sources, and waves of the water of the original homeland, which are constantly evolving and developing. At the first stop of the ancient Silk Road, Mongolian artists often discuss the homeland of human beings, the complex relationship between modern nomadic civilization and urban culture, and contemporary encounters.
Artists Nomin Boulder and Batterzolig Batjagar, who have lived in Ulabaatar, the only modern city in the Mongolian steppe, are also questioning and searching for the homeland of humanity in their own unique ways. Mongolian artists are adept at responding to the urgent problems of the rapid development of modernity with a calm, slow-paced, and large-scale pattern. For them, in a consumer society where desires are rampant, everyone must constantly reflect and reflect on themselves, constantly going back and returning to the original land of human beings. How? It depends on how to excavate and sort out its own fundamental cultural genes and cultural demands, and face up to and recognize the inclusiveness and plasticity of the development of existing civilizations. Mongolian artists Nomin Boulder and Battelzolig Batjagar believe that through the practice of artistic creation, we can trace the origin of human beings, and we can return to the spiritual homeland of nomadic civilization, that is, we can constantly seek and explore the unity of heaven and man.
1. The ultimate human value of harmony between man and the biosphere. Mongolian artists are adept at freely using symbolic texts and metaphorical semantics from different cultural systems in their works. They often regard the innovation and iteration of formal language as a kind of cultural consciousness, focusing on awakening and integrating the international rhizome system of shamanic cultural genes in Eurasia, revitalizing and expanding the intersection of the semiotic totem of nomadic civilization tradition and the genealogy of contemporary art, and continuing to participate in the contemporary art practice carried out by international artists such as Boius, Richard Lang, Cai Guoqiang, Huang Yongping, etc., to refresh and transform the local context of contemporary art texts. The various semiotic genealogies originating from the homeland of the human spirit guide the continuous expansion of the human imagination and the continuous upgrading of cognitive structure. In essence, it is nothing more than the continuous emancipation of human minds and the continuous renovation of knowledge production, rather than the various ideological barriers and aesthetic inertia caused by conservative and incomplete ideological and behavioral norms. The appropriation, borrowing, digestion and integration of global multiculturalism and its semiotic genealogy enable Mongolian artists not only to inherit and transcend their own traditions, but also to have a deep cultural self-confidence that they have experienced by combing and integrating various knowledge systems of human civilization.
Exhibited Works:
Nomin Boulder, Transport, 2024, acrylic on canvas, 200 x 200 cm.
In Nuomin's oil painting "Luck", with the help of the traditional Mongolian concept of the cycle of life and death, the skeleton ship and the joyful skeleton dance set off by colorful auspicious clouds express a scene of parallel universe. In the depths of the artist's consciousness, the inertia of the thinking of the shamanic possession ritual and the Tibetan Buddhist concept of life to death is still inherited, and it seems that the image text continues a kind of true color output derived from his own experience and knowledge pattern. Living in the network society of the current global village, each individual always suffers from the cognitive limitations of his or her own perception system, migration range, cultural customs and lifestyle, and always has the dilemma of insufficient knowledge and information overload to a greater or lesser extent. Artist Nomin is no exception. Since human wisdom and cognitive ability are far from exhausting the total amount of things that exist in the world, the so-called conscience and true knowledge are also limited. In fact, in different societies, countries, communities, and circles in different eras, there are also different limited boundaries in the cognitive structure of each person.
Battelzolig Batjagar, Great Lightning, 2023, acrylic on canvas, 300 x 200 cm.
Detail of Battelzolig Batjagar, Detail of Great Lightning, 2023, Acrylic on canvas, 300 x 200 cm.
The name of the Mongolian artist Batelzolig's oil painting "The Great Lightning" is reminiscent of the conquest wars of the Mongol cavalry commanded by Genghis Khan to sweep through the countries of Central Asia. At that time, the Mongolian cavalry galloped across the Eurasian steppe, as fast as lightning, and suddenly descended like a heavenly soldier and a heavenly general, which made people frightened, so it was called "big lightning". In his work, Batterzolig brings a cross-cultural way of thinking into the contemporary "Mongol Zurag" painting system. His unique and creative inheritance of Mongolia's traditional cultural DNA represents the challenges faced by Mongolian artists in an era of unprecedented urbanization. The artist not only has to resolve the contradictions and conflicts in his own cultural environment, but also completes the transition from Mongolian painting in the past to contemporary Mongolian Zurag painting. In Battellzolig's work, tradition comes to life. He often depicts Mongolian mountain landscapes, traditional motifs and rich imagery from a flat perspective, reminiscent of two works commissioned by the famous Mongolian art historian Baldugiin Shar (1869 1939), "The Hermitage" and "A Day in Mongolia: Autumn". Battelzolig's paintings depict shamanic and Buddhist deities, saints, heroes, samurai, herdsmen, and horses of all kinds, but there are also many seemingly alien elements that resemble foreign invaders in the scene. Such as Mickey Mouse, a predator in a tie, an astronaut, a clown, an artist, and many more. Battellzolig's Mickey Mouse looks terrifying, with crazy eyes and mischievous expressions, often occupying the position of Buddhist deity in the painting. He sees Mickey Mouse as an emissary who spreads Western culture around the world. People around the world learn about Western culture, lifestyle, and ideology through Mickey Mouse. The emergence of Mickey Mouse has made a subtle change in everything in the global consumer society. In the face of the unequal competition of global capitalism and the pressure of popular culture in the consumer society, Battelzolig uses a unique traditional narrative to tell the story of the revival of traditional culture. Through the "Mongolian Zulag" paintings, he attempts to revisit the cultural roots, to restore the ancient and fundamental philosophical ideas that have taken root in Mongolian society, and to pass them on to the next generation before they disappear forever.
Battelzolig Batjagar, X Space, 2024, acrylic on canvas, 80 x 100 cm.
Battellzolig's "X-Space" is to create a two-dimensional and three-dimensional visual illusion space on the plane of oil painting. Some golden objects are superimposed in the foreground from God's point of view, forming a window frame for observing the world. And inside the window, there is only an abstract set of geometric structures. Perhaps, the pure black background of the painting implies a kind of event horizon of a black hole, where everything appears before nothingness, glittering with golden light, forming a blinding method. Eventually, everything will return to the nihilistic end of the entropy-increasing universe.
Nomin Boulder, Group, 2024, acrylic on canvas, 80 x 100 cm.
Description: On the screen of Nuomin's oil painting "Group", a multi-dimensional structure is composed of 20 square modules. Between the squares, there are a number of disordered, directionless telephone poles, antenna masts and countless parallel lines implicated in each other. These slender lines, which represent the network and more importantly the social interpersonal relationships, are almost out of order. They are obliquely outward, sometimes sparse and sometimes dense, like an artificial spider web that is connected in all directions and lacks standardization, covering the entire picture. No one knows where or from which line information and energy come from. In the foreground, some winged, red-striped elves seem to be suspended above all the squares, out of place, up and down, and without bounds. The modular, stylized, and homogeneous modern world referred to in Nomin's symbolic visual texts is undoubtedly a visual metaphor for a dystopia. It is the digital reproduction and mass derivation of this survival module that constantly shields natural resources and swallows fireworks in the world, so that many urbanites with nomadic genes and yearning for the natural living environment like the grassland have become spiritual islands in the cage of cramped space.
Nomin Boulder, Anti-Parallel 2, 2023, Acrylic on canvas, 200 x 150 cm.
Nuo Min's "Anti-Parallel" series of oil paintings use the goddess of the five elements of metal, wood, water, fire and earth** the basic elements of all things and their mutual restraint relationship, and then use the children representing the 12 zodiac signs to represent the interrelationship between blood and fortune in human life and reproduction. The five elements, the zodiac, and especially the mysterious black butterfly that covers the goddess's heavenly eye, these root symbols from the folk cultural tradition that have been passed down from generation to generation, appear repeatedly in the logical deduction of the image text of Nuomin's oil paintings. In fact, this is the artist's borrowing of traditional cultural symbols to analyze, deconstruct and reconstruct various cultural genes closely related to his own cultural identity. She uses a series of fictional goddess images that are constantly reproduced and evolved in self-mirror reflection to replace, refer to, and relate various symbols and conceptual systems of Mongolia's Tengri concept and Tibetan Buddhism's dualistic system, so as to refresh, extend, and redefine a series of classic images and schemas from the source of traditional Mongolian painting.
Nomin Boulder, Box, 2023, acrylic on canvas, 50 x 50 cm.
The skeletons in Nomin's "Box" series represent the Lord of the Corpse Forest. The Lord of the Corpse Grove often appears in the thangka, and is the uncommon ** of the Buddha-figure Shengle Vajra and the Empty Mother. What the Lord of the Corpse Forest shows to all beings is the final result of life, which is a white bone. The Lord of the Corpse Forest uses the image of a skeleton to inform sentient beings that there is no eternal thing in the world, and that people are born, old, sick and die, but sentient beings do not understand the reason for impermanence, and they are obsessed with it, which eventually leads to the suffering of reincarnation. Mongolian artists often use the theme of the corpse forest lord as the theme of expression, in order to enlighten people to give up their permanent attachments and seek wisdom and liberation.
Nomin Boulder Chrysalis, 2019, cotton, dimensions variable, set of 14 pieces.
Nuomin's 2019 chrysalis series is a result of her efforts to investigate the connotation and regularity of the human perceptual system and clarify the fallacy of visual positivism in the art of realistic representation. In Nuomin's view, the human five senses perception system is not a pure mirror, and it cannot be reflected to the external objective world of the brain's consciousness. Because of the survival instinct, the human perceptual system itself always processes external information in an innate logical format. Light waves are processed into brightness by sight, fluctuations are processed into sounds by hearing, and forms are processed into tastes by smell and taste. Due to the intrinsic prescriptiveness of the human perceptual system, the subjectivity of the perceptual channel is always distorted, deformed, and transformed into the nature of external things. This reconstructed knowledge makes it impossible to touch the truth of the objective world. Based on the questioning of sensory experience, since ancient Greece, Western philosophers have mobilized the precise logical reasoning ability of ideology and consciousness to obtain a rational concept of grasping and interpreting the world, thus giving rise to the dominant concept of the philosophical logical thinking model of "seeing is not believing, thinking is believing" in the Western knowledge society. There are several words in the Diamond Sutra that represent the supreme wisdom of Mahayana Buddhism: "All appearances are false; If you see things that are not like each other, you see them as they are. These words are also a rejection of the direct sensory experience of "seeing is believing". Nomin's "Chrysalis" series is a collection of dozens of gas masks that are dismantled and cut from knitted sweaters worn by themselves, rewoven and collaged. These masks are soft in texture, mainly made of blended natural fibers and chemical fibers, rich in colors, diverse in styles, decorated with a variety of traditional auspicious symbols and folk patterns, suitable for users of different genders and ages. In Nuomin's view, the gas mask is not only a kind of equipment to prevent over-the-limit war conflicts and street conflicts, but also a kind of protective gear to resist smog and pollution, and it is also a prop for a solitary cultivator. Any person who experiences it wears a gas mask like Nomin's "Chrysalis" will immediately cover all the features of his or her naked face, making himself invisible as a faceless person who is difficult to identify from the outside world. At the same time, this mask also firmly blocks and blocks part of the sensory channels of the experiencer's own eyes, ears, nose, tongue, lips and other senses, so that people can face themselves and observe themselves more completely and directly.
Detail of Nomin Boulder, Chrysalis, 2019, wool, cotton, dimensions variable, set of 14 pieces.
There is a tradition of escapism in Asia to achieve enlightenment by living in isolation, retreating from the wall, or even closing one's eyes and ears, fasting and clearing valleys. For Nomin, the practitioner's experience of being isolated from the world is like an insect "chrysalis" into a state of existence. Through a process of physical self-isolation, they drive their consciousness into a state of "pupation", and no longer respond to any external information and external stimuli, so as to obtain an extremely isolated and self-existent experience. The wearable props displayed in Nomin's work "Chrysalis" can help the experiencer to close his or her various perceptual channels as much as possible, deny the direct knowledge of the external world obtained by seeing, hearing, smelling, tasting, and touching, abandon sensory experience, and go purely inward, feeling the existence of oneself rather than others. Once a person perceives his own inherent prescriptiveness and perceives the connotation of his own existence, he will find the relationship between his existence and the microcosmic material existence and the macrocosmic existence. Tenggerism's theory of heaven and man induction emphasizes that it is also the combination of heaven, earth and man.
1. Interconnected and interpenetrating to the point of interconnection with each other. The theory of celestial and human induction is a deep structure of Mongolian traditional culture, which links the evolution of material connotation with the extension of time and space in the universe and the continuity of human civilization, forming a match and fit between the cosmology and the humanistic worldview. Nuomin pays attention to the evolution, growth and transformation of human nature, in fact, it is to take itself as a sample and grasp the evolution, growth and transformation of all things through precise logical thinking in ideology. Therefore, Nuo Min tries to remind the world that only by observing and penetrating the connotation of human beings, and by recognizing and grasping the state and situation of human existence, can we truly establish the position of human beings in the natural world and in the universe and space.
Battelzolig Batjagar + Nomin Boulder, Dawa, Miagma, Lagwa, Pref, Basan, Bianbo, Nyamander and Dawa (d**aa, myagmar, lha**a, purev, baasan, byambo, nyamand and d**aa), 2019, **Single-channel monitor, 9:44 min.
D**AA, Myagmar, LHA**A, Purev, Baasan, Byambo, Nyamand and D**AA (2019), a collaboration between Battelzolig and Nomin, shows images of wolf hunting and shamanic worship in Mongolian tradition. In Mongolian, d**aa, myagmar, lha**a, purev, baasan, byambo, nyamand means week.
One, two, three, four, five, six, and day, which repeats the cycle of a week, represent a constant and unchanging time cycle and the laws of the universe.
Battelzolig Batjagar + Nomin Boulder "Empty Nest", 2019, **Single-channel monitor, 4:52 min.
Battellzolig and Nomin Boulder's animated video "Empty Nest" is a dynamic presentation of 60 small sketches depicting various images of fallen angels. The 60 square images in the image gradually emerge according to a certain pattern. Swarms of fallen angels are like insects that are constantly flapping their wings, buzzing against the screen window on a summer night until it is full. Among the 60 images in "Empty Nest", images of doors and windows later appeared, alluding to the distorted relationship between man and the environment and the corresponding ecological dilemma.
Battelzolig Batjagar + Nomin Boulder, In Search of the Luu Dragon, 2019, AIGC**, single-channel monitor, 1:20 min.
Battellzolig and Nomin's "In Search of the Luu Dragon" is their first AIGC image created using Stable Diffusion technology. The artist used several close-up images of transparent stone-like crystals and a fabric dinosaur installation** on display on the grassland to train the AI model until the AI generated a 1 minute and 20 second virtual image. In the video, the image of a small dinosaur toy and the crystal are superimposed and fused with each other, just like a sub-shot scene in a surreal movie where a dinosaur egg is hatching.
About the artist Baatarzorig Batjargal.
Baatarzorig Batjargal was born in Ulaanbaatar in 1983 and studied fine arts at the Mongolian University of Culture and Arts in Ulaanbaatar. He is a key member of the Mongolian Artists' Union, in which the artist Batelzolig focuses on the preservation and loss of Mongolia's cultural heritage at different historical transitions. His choice of medium and subject matter reflects concerns about the severance of Mongolian roots and cultural traditions in the 1930s and the impact of capitalism and commodification in the post-1990s. Battelzolig collected wooden and metal ornaments from Tibetan Buddhist rituals, heirlooms of nomadic families in yurts, which he used as a vehicle for his paintings. He preserved Mongolian cultural heritage by painting Mongolian portraits on these artifacts. Batelzolig critically reflects on the changes that have taken place during Mongolia's economic transition and satirically examines the tension between traditional culture and global consumerism, while juxtaposing contemporary consumer cultural landscapes, symbols, and fragments of Mongolian history. He participated in the 8th Asia-Pacific Triennial at the Queensland Art Gallery in Australia in 2015; 2018 Yinchuan Art Museum "The Second Yinchuan Biennale"; 2020 Bangkok Biennale, 2023 3rd Cairo OFF Biennale at Saladin Castle in Egypt.
Introduction to Art Nomin Bold.
Nomin Bold, a Mongolian female artist, was born in Ulaanbaatar in 1982 and graduated from Mongolian University of Culture and Arts in 2005. Influenced by the genes of ancient religious culture and commissioned by state institutions, Nomin uses the contemporary transformations and aesthetic positions of Mongolian and Buddhist art to discuss contemporary issues. She was trained in traditional painting methods and began her career by incorporating archaeological finds and intricate images of deities into her artwork. She now questions everyday values using symbol-heavy colors and graphics. She examines themes such as wealth, politics, nature, and human relationships by placing people in secular societies in the world of gods. Her goal is to replace current customs and encourage viewers to evaluate cultural norms from the perspective of Mongolia's ancient history. She is a member of the Mongolian Artists Union. He was awarded the 2015 Krasner-Pollock** Grant Award in the United States. He participated in the 8th Asia-Pacific Triennial at the Queensland Art Gallery in Australia in 2015; In 2016, he participated in the "Rainbow Caravan" Aichi Triennale in Nagoya, Japan; documenta 14 Kassel, Germany 2017; 2018 Yinchuan Art Museum "The Second Yinchuan Biennale"; 2020 Bangkok Biennale, 2023 3rd Cairo OFF Biennale at Saladin Castle in Egypt.
Posters.