I live and create my artworks in Ulaanbaatar. I like making mixed media works such as short videos and making collage of photography with painting and printings on it. The process of creating new combinations of different/new - old materials resembles to me a mixture of different civilizations, hybrid culture, digital society and mixed period of time that are present today. Representations of geometrical shapes that are inspired from Mongolian traditional wooden spring game, moss, leaves and saw are common themes in my works. Although I assume that the saw placed above the door is a superstitious symbol which comes from mongolian way of living, the traditional way we see this tool is being changed as a belief and spiritual symbol - that interests me a lot. I aim to present my feelings on the issue of human being’s improper behaviour toward nature in my own creative way using the language of art. How can people live with less harm to nature in this transition period of escaping from nomadic culture and trying to catch up with the so_called urbanisation as a whole? Do we keep acting as if we have no other choice than consuming with no limit? What do we believe in? These are the questions that I try to ask through my works.
About ArtistAriuntugs Tserenpil, a Mongolian contemporary artist, was born in 1977 in Ulaanbaatar, Mongolia. He graduated from Culture and Fine Art Institute of Mongolia with a BA in fine arts in 1998. His art covers a wide range of media, including oil painting, installation, photo, and video. Besides mixed media art, he also works for film and international music festivals. His artworks reveal varied social phenomena, such as the relationship between man and nature, the transition of nomadic culture, as well as the way of life under consumerism. As one of the early Mongolian painters of the academic Russian style, he has been devoted to oil painting for years. He started land art and installation in 2000. From 2003 to 2005 he worked as the painting director for the international contemporary and folk music festival “Roaring Hooves” (Ulaanbaatar, Mongolia). In 2007 he shifted to video, featuring essential natural elements, such as rivers, forests, plants, objects, and a combination of sounds in nature. In 2010, he participated, along with other young Mongolian artists, in the exhibition “Smoke in the Brain”, expressing their discontent with the country’s policies, flagging economy, social injustice, air pollution in Ulaanbaatar, as well as many other social problems they currently grapple with. In recent years he has been focusing on video art and mixed media, painting on photographs and making printings on photos. His major exhibitions include “Ulaanbaatar International Media Art Festival” (Ulaanbaatar, Mongolia, 2021), “Go Nomadic Together” (Rhizomic Space, Beijing, China, 2020-2021), “Concilience” (MN17 Gallery, Ulaanbaatar, Mongolia, 2020), “After Hope” (Asian Art Museum, San Francisco, USA, 2020), “Global Nomadic Art Project” (Mongolia/Korea/France, Seoul, Korea, 2020), “NomadRelays Project 2019” (Chaoyang Park, Beijing, China, 2019), “Beyond Heaven and Earth: Mongolian Art in This Day and Age” (China Art Museum, Shanghai, China, 2018), “UB International Art Festival” (Ulaanbaatar, Mongolia, 2018), “Urban Nomadism, Roof International Moving Image Exhibition” (Liangzhu Culture and Art Center, Hangzhou, China, 2017), “The 14th Kassel Documenta” (Kassel, Germany and Athens, Greece, 2017), “7th Geumgang Nature Art Biennial, Video Exhibition ‘Water’” (South Korea, 2016), “Difference Screen: International Artists’ Film and Video Programme” (UK, 2013), “Thinking Landscape in Mongolia” (Redger Gallery, Ulaanbaatar, Mongolia, 2013), “Nine Dragon Heads International Environment Art Symposium” (Mongolian Modern Art Gallery, 2013), “F_Act” (UMA Art Gallery, Ulaanbaatar, Mongolia, 2012), “The 9th Shanghai Biennial, Ulaanbaatar Pavilion” (Shanghai, China, 2012), “Desertification” (Xanadu Art Gallery, Ulaanbaatar, Mongolia, 2011), “From Steppe to Urban Dynamics” (Hangart TZ Gallery, Hong Kong, China, 2010), “From Imagination to Creation” (National Modern Art Gallery, Ulaanbaatar, Mongolia, 2010), “Smoke in the Brain” (Redger Gallery, Ulaanbaatar, Mongolia, 2010), “Time & Space Nomadic Art Residence Program” (Jeju, South Korea, 2010), “Sand of Mongolia” (UMA Art Gallery, Ulaanbaatar, Mongolia, 2009), “Time & Space Nomadic Art Residence Program” (Mongolia, 2008), “WHY International Land Art Exhibition” (Redger Art Gallery, Ulaanbaatar, Mongolia, 2007), etc. 关于艺术家 策仁皮勒·阿荣特古斯，蒙古国当代艺术家。1977年出生于蒙古国乌兰巴托市。1998年毕业于蒙古国文化和美术学院，获美术学士学位。作品以油画、装置、图片、视频等为媒介，专注于跨多媒体的混合艺术创作，同时参与电影与国际音乐节的制作。其作品展示了人类与大自然的关系、游牧民族生活方式的转型、消费主义下的生活方式等当代社会现象。 他是蒙古国早期一派掌握学院派俄罗斯绘画的学者，并多年从事油画创作。2000年，他开始尝试创作大地艺术及装置艺术作品。2003-2005年，担任“蹄疾”国际当代与民间音乐节”绘画总监（乌兰巴托，蒙古）。2007年，他的创作重心转向视频作品。自然界中的河流、森林、植物、物体以及日常声音的混合运用是他视频作品的重要元素。2010年，他参加了由蒙古国青年艺术家联合创办的Smoke in the brain展览。展览表达了对当时蒙古国的政策、经济危机、社会不公正以及乌兰巴托空气污染等社会混乱现象的不满。近年来，他专注于创作照片绘画和重印的摄影为集合的视频艺术及混合媒体作品(Mixed media)，2017年参加了“第14届卡塞尔文献展”。 参加主要展览包括：“乌兰巴托国际媒体艺术节”（乌兰巴托，蒙古，2021）、“一起游牧”（造空间，北京，2020-2021）、“契合”（MN17画廊，乌兰巴托，蒙古，2020）、“希望之后”（亚洲艺术博物馆，旧金山，美国，2020）、“全球游牧艺术项目”（蒙古-韩国-法国，首尔，韩国，2020）、“2019游牧计划”（北京朝阳公园）、“天的那边：当今时代的蒙古艺术”（中华艺术宫，上海，2018）、“UB国际艺术节”（乌兰巴托，蒙古，2018）、“都市游牧：大屋顶国际动态影像展”（良渚文化艺术中心，杭州，2017）、“第14届卡塞尔文献展”（卡塞尔展区，德国； 雅典展区，希腊，2017）、“第七届金刚自然艺术双年展”之“水”影像展（韩国，2016）、“差异屏幕”国际艺术家影像项目（英国，2013）、“蒙古风景的思考”（Redger画廊，乌兰巴托，蒙古，2013）、“九龙首国际环境艺术研讨会”（蒙古当代艺术画廊，2013）、“F行为”（UMA 艺术画廊，乌兰巴托，蒙古，2012）、“第9届上海双年展乌兰巴托馆”（上海，2012）、“沙化”（上都艺术画廊，乌兰巴托，蒙古，2011）、“从草原到城市动力”（汉雅轩画廊，香港，2010）、“从想象到创造”（国家现代艺术画廊，乌兰巴托，蒙古，2010）、 “思想烟雾”（RedGer 画廊，乌兰巴托，蒙古，2010）、“时空游牧艺术”驻地项目（济州，韩国，2010）、“蒙古之沙”（UMA 艺术画廊，乌兰巴托，蒙古，2009）、“时空游牧艺术”驻地项目（蒙古，2008）、 “WHY国际大地艺术展”（RedGer 画廊，乌兰巴托，蒙古，2007）等国际展览。
Nomadism involves political structures and living mechanisms nomads formed over years in their production and life. Along with the evolution of human history and civilization, this pattern of culture has offered the world a different cultural perspective. With a dynamic structure, it is in an ongoing process of changing or crossing the established boundary. The contemporary aspect of nomadism, in the overwhelming context of globalization, has penetrated our daily life and led to structures with differentiated values, which may help to restructure the world.
To an individual, mobile physical experience and sense-based perception are very important in breaking the conventional cognitive pattern. The contemporary practice in nomadism covers a wide range, from history and culture to nature and life style, in which field, everyone has unique experience and understanding. This art project brings different individual events together to show the possible values of the contemporary nomadic structure.
The artists to be invited will choose freely when and where to carry out this “Nomad” project. Any medium is acceptable, including but not limited to painting, sculpture, installation, performance, video, sound, music, dance, etc. The place can be everywhere, no matter it is a prairie, a desert, a mountainous region, a city, or even the cyberspace. “Go Nomadic Together” is intended as an open “nomadic” art experiment and a collection of individual cases as well .
Rhizomic Space, with no bricks or motar, is founded as a nomadic space by Qin Ga (Chyanga) at the end of 2011. Working through different channels and in different forms, it chooses social public spaces with mobility to launch and organize experimental art projects to explore the extension of contemporary art in social public places, the contingent aspect of space production, temporary structures, sustainable force, and the sculpture of transmigrated life. It has completed a series of projects, including “Packing Case Project”, “One Dream Project”, “Read Flag Primary School”, “Make Waves”,“Fly Together: Shijiezi Village Art PracticeProject”,“VolunteeringProject:People’sKindergarten”,"NomadRelays Project", "Go Nomadic Together Project "is currently on show.