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Land Art Biennial Mongolia 360°

Biennial, Triennial etc.
 
MONGOLIA 360° 1st Land Art Biennial Mongolia 2010
 
  Theme: The new challenges we face mean we're going to have to rethink our connections to the planet and to each other. When it comes to creating a new space for building new relationships, the arts are uniquely powerful. Land Art is arising as a new kind of art space: a virtual, discontinuous, shape-shifting terrain, more conceptual than architectural, with a reach that has already become global in scope.

Questions like Sustainability, the perspective of environment and a new vision of diversity require a creative understanding beside the common white cube art spaces where the arts become more and more condensed by economical force. In order to develop a new chapter in the Land Art tradition - the Land Art Biennial in Mongolia was founded to be located in various sites of Mongolia. The Biennial is a forum in search of contemporary definitions of what Land Art can reveal about "today's questions". In order to open a free space of artistic interaction they decided not to restrict the definition of land art by any presets.


Concept MONGOLIA 360° 1st International Land Art Biennial, Mongolia 2010

Mongolia is a land of extremes: It is one of the least-populated countries on the earth, and it is the country with the greatest temperature differences worldwide. Mongolia is one of the sunniest countries with the most southerly permafrost, the most northern desert, etc. and the scenic features are overwhelming.

The vast scenery of Mongolia is well suited to contribute to the debate about contemporary land art. The Vision is open for a variety of artistic expressions not bound by restrictions as materials or restrictions. Aim is to establish an original and new view on Land Art as a contemporary expression of highly sensible issues of sustainability ecology and freedom of mankind.

The 1st Land Art Biennial Mongolia 2010 will take place in BAGA GAZRIIN CHULUU in the Gobi desert (46?12'38.23"N, 106?0'48.43"O) about 300 km from Ulaanbaatar.

Exhibition

The results of Land Art 2010 will be documented in an exhibition at the National Mongolian Modern Art Gallery in Ulaanbaatar ion the 19th - 26th of August 2010. http://eng.art-gallery.mn

Symposium

In cooperation with the Konrad-Adenauer-Foundation, a symposium will be held from August 17th - 19th 2010. The symposium focuses on Land Art related to issues like: Art in the public space / free space - occupied space, environmental concerns, sustainability and political aspects. The Symposium takes Place at the Chinggis Khan Hotel http://www.chinggis-hotel.com/main/index.php
Participating Artist 2010

Artists have been invited to provide drafts and work plans reflecting the specific scenery. The work proposals might differ in situ during the workshop in the Gobi desret.
Anibal Catalan (Mexico) *1973 His proposal consists in the realization of ephemeral architectonic constructions with a short duration on sites.

Asaki Kan (Japan/UK) *1980 works on Time Space and knowledge. Asaki Kan is working in-situ with natural elements.
Batzorig Dugarsuen (Mongolia) *1979
Beatrice Catanzaro (Italy) *1975 (lost Land) her intention is to possibly initiate a collaboration with the environmental group leading to their active participation in the MONGOLIA 360° 1st Land Art Biennial, on the base of a join mapping process of the current environmental/economical changing undergoing in Mongolia.
Cheng Ran (China) *1981 (Frontier Post Station) A frontier shall be set up for the Gobi Desert. The sentry post should be the last piece on display. The minute you arrive at the frontier, you come to the realization that the tour is over, for no art exists beyond the borderline. Gobi is where we put on the exhibition; the sentry post will serve as its exit. If the art in the desert is the last utopia, the sentry post is where the utopia is lost.
Chimeddorj Shagdarjav (Mongolia) *1954. Chimedorj will paint on the rocks of the environment and create a site-specific plain air painting
Dolgor Ser-Od (Germany/Mongolia) *1973 Dolgor Ser-Od will create spatial spaces using red/white barrier tape in which rocks and single stones are connected to an artificial ensemble.
Dagvadorj Sereeter (Mongolia) *1954, Sereeter works with installation, he was inventing the land art symposium in Botr Undur 2006
Guido Canziani Jona (Italy/ Germany) *1974 Guido's work is very much related to the zoomorphic and prehistorical figures, such as animals and cave graffiti. He usually works on copper and alluminium plates, scratched and painted and his idea is either to use the same material, either the same technique, but on stone. Scratchind and coloring a line directly on the stone of the desert would create at the same time a modern zoomorphic figure and a strong recall to the "before-knowledge of art".
Huang Rui (China) *1952 Huang is an original founder of the avant-garde art Stars in 1979 and now vocal advocate for the 798 Art District in Beijing, Huang Rui is an artist whose works avoids easy taxonomy. Over the years his works have taken on many forms. Most of them are characterized by a spirit of rebelliousness and an interest in exploring how the human condition faces up to the impenetrable walls of authority. For MNG360° he will work about a temple of the Kulbai Kahn in Beijing which is going to be destructed this year.
Kim Young-Ik (South Korea) *1947 Kim will build an altar at the propitious spot which correspond to a spot on the body, important for acupuncture and cauterization. And at the center of altar he will stand a long, sharpened iron bar, which should be a lightning rod. And he piled wastes on the altar. The iron bar also means acupuncture needle and the wastes mean moxa. If the lightning strikes the lightning rod, and arise a fire and smoke, it means a cauterization with wastes.
Lap Yip Wing (China) Tony Ng (China) Desert for us is symbolizing limit and unlimited. Honestly we don't know that much about desert. For us this project has to do with civilization force entering primitive land. This conflict became a reality; it is a thinkable matter for us as human beings. We try to use this project to measure emptiness. For us the word AVAILABLE has an ambiguous meaning: on one hand the direct link to the capitalistic commercial world -on the other hand it is linked to Relief, Emptiness, Openness and Freedom.

Lea Rekow (USA) *1966 Australia Lea's work maps geographical and cultural space. Though it is mostly exhibited in combination of print, interactive multimedia, projection, live performance, video installations, oral histories, and documentary film, it is based on interaction within a community over time. The work largely engages issues associated with the environment and/or human security, and often the complexity of interrelated threats associated with the displacement of populations [both human and animal].

Karin van der Molen (Netherlands) *1962 (oringin) Origin is a project in the form of a bowl, being placed tilted on a field. The object thus catches something from the air or sends something from the earth. The object has a diameter of 3 meters and a height of 5 meters. It will be constructed with natural materials such as branches, and earth.

Marc Schmitz (Germany) *1963 (Moon Cuckoo) - Scenery for a desert play in memory of Danzan Ravjaa. The work Ssaran Chochoo resembles to Ravjaa's main Opera and takes the image of his giant theater building in Kharmaryn Khiid (Gobi), which was constructed with 2 stairs and on additional directors box. The installation in Baga Gazrin Chuluu will provide abstract stage scenery that plays with the light and natural elements.

Nicole Dextras (Canada) Nicole's approach for the Mongolia 360 Land Art Biennial is to work with the concept of colonization through the symbol of the Tree of Life. The tree will act as a conduit to discuss relevant issues of ecology and sustainability today. The tree is a reoccurring symbol in many cultures; it can represent knowledge, rebirth or an axis for the cosmos. Evergreen trees symbolize everlasting life, undying spirit and immortality. Ironically clearing the land of trees is often the first thing a colonizer does to establish his power over a subjugated people.

Sabina Shikhlinskaya (Azerbaijan) *1962 and Yesim Agaoglu (Turkey) (wind project) - The artists will focus on the main outcome of the project, which is to formulate, develop and communicate a specific message. The Wind project will draw attention to the problem of preserving and cultivating national traditions. It will encourage the public to take better care of national culture, the natural environmental and historical heritage. The self-identification of the individual in the modern world in the system of total globalization is a fundamental element in the concept of the Wind project.

Su-Chen Hung (Taiwan/USA) *1949 A pool, set flush with the ground, is made in the shape of the Chinese character /tian/, " ?" (SKY). Each stroke of the character, "?" is constructed as a conduit and filled with water. The water which forms the "?" (SKY) character reflects the blue sky with its white clouds moving by.
Shinji Turner Yamamoto (Japan/USA) *1965 (Global Tree Project) phase 1: collection of materials from the Gobi desert. Phase 2: research/experimentation with collected materials. Phase 3: creation of small scale 2D/3D works from collected materials. Phase 4: creation of a temporary installation in the Gobi desert. Phase 5: realize works for museum exhibition
Tanya Preminger (Israel) * 1944 (With the Wind/ spheres) of Change Each sphere is about 150 cm in diameter. Around 5 - 7 spheres in total. They will be placed in an open field and will leave to roll freely with the wind. The movement should be captured on video.

Tan Xun (China) *1974 The direction of my creation that I interested is the typical and huge contrast in permutation relationship and all kinds of problems that concealed behind it. Creation Plan: To create the works by rebuilding the daily used goods those have being thrown away by the local people in Mongolia, such as furniture, clothes, life appliance and domestic garbage. The creation is based on the specific Mongolia national characteristics, using the creation and manufacture method of "Li Mingzhuang plan", to rebuild, match, displace and recombination.

Michael Müller (Germany) *1970
Michael Straub (Germany) *1964 ("You collect the dust, you pick up the pieces" William S. Borroughs) Besides the platform of a hill formed from stones with magnetic core is permitted with the combination of the wind turbine / woks an additional support of institutional museum presentation which must be decided, nevertheless, suburb. The track of the way to a select and suitable place is documented equally by finding pieces.

Robin Alexander Suri, *1970 Shanghai and Beijing based Canadian Curator of the Biennial.
 
www.landartmongolia.blogspot.com
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