Sunday, November 10, 2013
To put it in more abstract and less site-specific terms, looking at relationships between men and animals evokes questions regarding ethics, politics and power, but also subjectivity. ”Becoming-animal”, a concept of Deleuze and Guattari, means a process and a method. "To become", writes Deleuze, "is not to attain a form (identification, imitation, Mimesis) but to find the zone of proximity indiscernibility, or indifferentiation where one can no longer be distinguished from a woman, an animal, or a molecule - neither imprecise nor general, but unforeseen and non-preexistent, singularized out of a population rather than determined in a form".
The third edition of Land Art Mongolia / LAM 360°, taking place in August 2014 in the Orkhon valley nature reserve, will be guided by the theme “men & animals”. Sensitive topics such as overgrazing, desertification, poaching and illegal wildlife trade, decentralization and general questions on animal husbandry from the perspective of different species are motivating this discussion. Thus it is for our very pleasure to announce this open call for artistic projects:
Saturday, November 9, 2013
Julia Moritz for Sanat Dünamiz
Wednesday, September 4, 2013
Abstracts of 700 words or less Please note that abstracts for essays over the limit will be disqualified.
Deadline: Friday, September 27, 2013 Land Art in the context of the
Theme: Relationship of men and animals
Award: Publication in the biennialʼs catalogue due August 2014
and/or presentation at the biennialʼs symposium August 2014, in Ulaanbataar
Accepted papers will be announced: by December 20, 2013
Thursday, August 15, 2013
Monday, June 24, 2013
Tuesday, January 8, 2013
Monday, September 17, 2012
Friday, August 31, 2012
Wednesday, July 18, 2012
Tuguldur YondonYamts (MNG)
Saturday, March 17, 2012
Friday, January 20, 2012
Monday, November 7, 2011
Tuesday, November 1, 2011
Tuesday, April 5, 2011
Art and Politics - Contemporary art as spatial politics in light of emerging urbanism in Mongolia
After the successful inauguration of the 1st Land Art Biennial Mongolia 360° in 2010, which explored the potential staging of a Biennial in Mongolia within the context of global art, an international symposium will be hosted to discuss, broaden, and consolidate the context and dialogue of contemporary Mongolian Art in a global perspective. The symposium serves to support bilateral communication and the discussion of accompanying aspects: Art in public spaces / free space – occupied space in an urban context. It will furthermore address questions of sustainability in a broader perspective of cultural change in Central Asia.
To fully grasp the subject matter of spatial politics in contemporary art a broadly interdisciplinary approach to the investigation of land use is necessary. Drawing on smart growth, public policy and development practices as well as conventions in architecture and landscape design, a new kind of art space arises: a virtual, discontinuous, shape-shifting terrain, more conceptual than architectural, with a scope that has already become global. Its conceptual “point of departure” for exploring the inner and outer landscape of the region intrinsically focuses on notions of the ecological sublime.
The organizers of the Mongolia 360° Symposium 2011 have therefore invited a wider circle of artists, researchers, and curators to reflect on different thematic insights into academic and artistic points of view from a geographical perspective. The symposium will structure these positions into thematic sessions that will provide the conceptual backdrop for the events of the Biennial in 2012. The predominant methodology will focus on developing a Central Asian perspective to thwart the implementation of representational conventions used in a Western tradition. In order to do so the curatorial panel will expressively seek a cross-cultural exchange of ideas.
Сэдэв: Урлаг ба Улс Төр – Монголын хотжилтын үүсэлд контемпорари урлаг өргөн уудам бодлого болох нь
Монголд Биннеалыг дэлхийн урлагийн хүрээллийн дор зохион байгуулах боломжийг нээсэн 2010 онд Анх
Monday, September 13, 2010
Monday, August 30, 2010
Sunday, August 1, 2010
Thursday, May 27, 2010
An importance of the Land Art Mongolia 360° project is found in the emphasis of a correlation of experimentation, spatial site-specific creation and environmentally sound practice. The biodiversity of the Mongolian landscape in one of relative fragility despite the initial appearance of rugged terrain and harsh desert horizons, a theoretical approach has been formulated in cohesion with an aesthetic and philosophical objective to achieve the realization of a project which serves to instigate contemporary art in a nation as vast as Mongolia with its free, democratic vision and engender new conceptions from an experiential discourse between individuals and nature herself.
New physical vistas unique to the region challenge participants with the adaptation necessary in an intrinsic embrace with the distinct natural climate and selection intending to partially demarcate an equivalent diversity of cultural origins within the international body of guests. This hypothetical stance coupled with the actual aesthetic analysis of the proposals which include virtual reproduction, found organic materials, electro-static experiments and the transformation of natural hubris – occasionally fused with technology or industrial complementary or cosmetic alterations- act in service of the legacy of humankind and nature, recalls our past ignorance the destruction so prominent in the later generations of the first industrialized nations of the world. While the mission of the event does not intend to indict the past errors of modern society, LAM 360° does effect a examination of the practices which insinuate that we have erred to an extent of epic proportion, invites speculation that artistic discourse may be as providential as the supposed objectivity given to scientific enquiry.
Aesthetic approaches may no longer remain indifferent or detached from the actuality of experience in the context of nomadism, artistic invention and of a cultural heritage inextricably entwined with the sources of nature as that belonging to Mongolian people. Contextual subversion alongside conceptual deviations from original strategies are inevitable and organic, the individual artist and artistic intention subject to the greater intrinsic force of a land which most have never seen, one which is newly opened to the world with an orientation towards environmental protection and holding the promise of future ecological sustainability in the vision of this democratic nation. Prominence in an experiential context lies in the intimacy and proximity of the citizens of Mongolia with indigenous wildlife, the highest ratio of all nations and the vestige of raw nature in opposition to the urban confines of metropolis more commonly known amidst the situation of exhibiting contemporary art. The artists whom participate and artistic direction of the Land Art Mongolia project have been attentive to develop creative initiatives which prove to not only be highly originally and challenging as regards diversity and experimentation of form and the question of “open space” yet, deserve great merit in the collective sensitization of environment, nature and synthesis of the human experience.
R.A.Suri, Curator MNG 360°
Friday, March 26, 2010
Anibal Catalan Mexico
Asaki Kan Japan/UK
Batzorig Dugarsuen Mongolia
Beatrice Catanzaro Italy
Cheng Ran China
Chimeddorj Shagdarjav Mongolia
Dolgor Ser-Od Mongolia/Germany
Dagvadorj Sereeter Mongolia
Guido Canziani Jona Italy/Germany
Huang Rui China
Kim Young-ik South Korea
Lap Yip Wing China
Lea Rekow USA
Karin van der Molen Netherlands
Marc Schmitz Germany
Nicole Dextras Canada
Sabina Shikhlinskaya Azerbaijan
Su-Chen Hung Taiwan /USA
Michael Straub Germany
Shinji Turner Yamamoto Japan/USA
Tan Xun China
Tony Ng Hong Kong (China)
Michael Müller Germany
Megumi Shimizu Japan/China
Tuesday, January 12, 2010
We wish all interested followers of MONGOLIA 360° a happy 2010. We have had an unexpected and overwhelming response of applications for the residency from Azerbaijan, Alaska, Belgium, Bulgaria, Brazil, Denmark, China, Chile, England, Estonia, Finland, France, Ireland, Italy, Island, Israel, India, Germany, Hungary, Korea, Mexico, New Zealand, Norway, Spain, Thailand, Turkey, U.S.A., Japan and Russia (app. 300 entries) Due to the high number of relevant proposals and as the curatorial team is internationally based, the selection process has been delayed. A shortlist of pre-selected artists shall be published by the end of January 2010. Short listed artist shall be interviewed beginning February.
Friday, October 23, 2009
„ A twenty-first-century biennial will utilize calculated uncertainty and conscious incompleteness to produce a catalyst for invigorating change whilst always producing the harvest of the quiet eye.” –Cedric Price
„New biennials should invent new exhibition formats. The current multiplication of biennials means that rather than copying the formats of other biennials, the challenge is to provide new spaces and new temporalities. It is urgent to generate a situation that is receptive to interesting, more complex spaces combining the large and the small, the old and the new, accelerating and deceleration, noise and silence.” –Hans Ulrich Obrist
„..a new start is likely to take place beyond the European continent.“ –Daniel Birnbaum
(All from Flash Art October 2009)
Sunday, October 4, 2009
MONGOLIA 360° 1st Land Art Biennial Open Call 2010
Questions like sustainability, the perspective of ecology in the 21st century and a new vision of diversity require a creative understanding. In order to develop a new chapter in Land Art and following the nomadic idea of the Walking Museum the Land Art Biennial in Mongolia was founded to be located in variously areas of Mongolia. In August 2010 with MONGOLIA 360° the 1st international Mongolian Land Art Biennial will be take place in the very special location of BAGA GAZRIIN CHULUU Gobi.
The Biennial will discuss a contemporary definition of what Land Art can reveal about the “today’s questions”.
Twenty international artists together with Mongolian artists will be invited for a work residency. During the residency artists have the opportunity to realize site specific works. Artists are suggested to use natural materials of the area but as well any materials and artistic expressions are welcome (installation/performance/earth art/organic art/sculpture etc.)
A final exhibition including a catalogue and a Symposium will present a documentation of the realized works in the National Mongolian Modern Art Gallery in Ulaanbaatar.
Interested artists are asked to submit applications by the following way:
- Personal information, contact address, email
- Current CV
- Documentation of work, up to 10 jpgs (not more than 1mb each)
- General statement by the artist on their work practice.
- Typed 1 page proposal on approach to residency
Artists who apply should send a clear proposal including their work plan. Incompletely applications will not be considered.
Invited artists will be hosted in Ger Camps. They will be supported with full accommodation during their stay in the Gobi desert. However, artists will be responsible for their own return transportation costs to Mongolia. If necessary, artists must apply for travel grants through their national art councils.
The open call is published on the 1st October. Deadline for submissions is the 15th November 2009. Final selections will be published during December 2009.
Send email submissions to: proposal(at)landartmongolia.com
The Land Art Biennial Organizing Committee, C.A.S. and DUBTSUN Mongolia.
Wednesday, September 30, 2009
Thursday, September 24, 2009
Sunday, September 20, 2009
The Shanghai based curator R.A. Suri has been nominated to curate the Land Art Biennial Mongolia 2010. Working for this project we soon came to experience and understood that it was absolutely necessary to find Asian experienced specialists. Mr. R.A. Suri, has kindly accepted to be one of these specialists and the main curator.
Working together in this way we came, of course, to appreciate his knowledge of Asian artists and his personal involvement in organizing important artistic events. As well, he brings a capacity to link this experience to a larger point of view, helping us to find the way to present the Art works without betraying their cultural context, yet in reference to Occidental modes of artistic expression, as Mr. R. Suri has developed contacts with many international artists and poets from across Europe.
So, for us it is evident that Mr. Rajath Suri is the “right man” to be called on for all artistic projects which aim to construct this manner of international relation and intercultural exchange.