LOST IN TNGRI (LOST IN HEAVEN)
13 May - 26 November, 2017
Istituto Santa Maria della Pietà, Castello, Venice, Italy
Venice Biennale 2017 // The Mongolia Pavilion
Lost in Tngri "Lost in heaven" for the second time the curator of Mongolia pavilion Dalkh-Ochir Yondojunai brings together 5 artists who explore the urgencies of Mongolian contemporary society. The country is at a crossroads between its identity as a nomadic nation with a history of Shamanism and Buddhism, and a new economic reality of globalization where the use of natural resources threatens its very existence.
Traditions of herding across vast and beautiful terrains with a life connected to nature, ancestry and the spiritual world is seen as heaven by many. A door to another type of heaven is the creation of wealth that exploits the same land for mining, goat breeding for cashmere construction and trading. But is the country disappearing between these two biospheres? The artists, who are from across the generations, question Mongolia’s future.
The exhibition alludes to human nature and its effect upon society and the environment. While the context is uniquely Mongolian, the impacts are global and universal.
Lost in Tngri "Lost in heaven" for the second time the curator of Mongolia pavilion Dalkh-Ochir Yondojunai brings together 5 artists who explore the urgencies of Mongolian contemporary society. The country is at a crossroads between its identity as a nomadic nation with a history of Shamanism and Buddhism, and a new economic reality of globalization where the use of natural resources threatens its very existence.
Traditions of herding across vast and beautiful terrains with a life connected to nature, ancestry and the spiritual world is seen as heaven by many. A door to another type of heaven is the creation of wealth that exploits the same land for mining, goat breeding for cashmere construction and trading. But is the country disappearing between these two biospheres? The artists, who are from across the generations, question Mongolia’s future.
The exhibition alludes to human nature and its effect upon society and the environment. While the context is uniquely Mongolian, the impacts are global and universal.
CHIMEDDORJ Shagdarjav
I am a Bird is a combination of 60 sculpture installations that artist has set the forefront image of the pavilion. In I’m Bird, he questions where modern goals lead us, and to what extent the restless quest for new worlds destroys the old worlds.
Sculpture installation, 60 pieces
95 x 120 x 20 cm / 37,4 x 47,2 x 7,8 in
Bronze
Sculpture installation, 60 pieces
95 x 120 x 20 cm / 37,4 x 47,2 x 7,8 in
Bronze
ENKHTAIVAN Ochirbat
KARMA - This filmic installation forces the viewer to question their own actions and consequences in relation to the environment. A chair with a foreshortened back, positioned in the middle of desert becomes a symbol of power to be fought over; it is uncomfortable, fragile and will not support anyone for long. Fish in the tiny oasis look out questioningly. The shifting projection emits shadows and the chair seems to implicate the viewer. We are forced to question our own actions and the consequences in relation to the environment.
2013
600 x 400 cm / 236,2 x 157,4 in
Mixed media
2013
600 x 400 cm / 236,2 x 157,4 in
Mixed media
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MUNKHBOLOR Ganbold
THE KARMA OF EATING - focuses on damage to the Mongolian ecosystem, a creeping desertification caused by the overbreeding of goats for the cashmere trade. In 2010, an exceptionally cold winter combined with drought killed millions of livestock in Mongolia. The artist's use of animal skulls, all that is left of the victims of brutal natural disaster, not only juxtaposes the worlds of shamanistic ritual and commercial gain, but reminds us that explotation and over consumption drive the cycles of destruction and disaster.
KARMA OF EATING
2016
Cow skull, acryl, light, plastic tube, chip-wood.
KARMA OF EATING
2016
Cow skull, acryl, light, plastic tube, chip-wood.
BOLORTUVSHIN Jargalsaikhan
RAPED - Digital Video
2016
Bolortuvshin manifests for the devastation left by unregulated mining and widespread environmental pollution. She uses her lens to express deep anger and outrage.
2016
Bolortuvshin manifests for the devastation left by unregulated mining and widespread environmental pollution. She uses her lens to express deep anger and outrage.
DAVAAJARGAL Tsaschikher
Sound installation
2017
For this sound piece, Davaajargal mixed noises from nature as well as traditional and electronic music. For the artist "noise., sound and music are all notions of space" and he is interested in researching the relationship between physical and spiritual space. He focuses upon the intersections between time, rhythm and thought. Davaajargal feels humans are too embroiled with the money and wealth. He also speaks of "the inevitability of death" and contests the idea that :"we live only once". He states, "Death is not the end! There is rebirth, recurrence, reincarnation, re-existence...".
THE MONGOLIA PAVILION
Opening days: from May 13th to November 26th 2017, closed on Mondays (except May 15th, August 14th, September 4th, October 30th, and November 20th 2017)
Location: Istituto Santa Maria della Pietà, Castello, Venice, Italy
Opening days: from May 13th to November 26th 2017, closed on Mondays (except May 15th, August 14th, September 4th, October 30th, and November 20th 2017)
Location: Istituto Santa Maria della Pietà, Castello, Venice, Italy