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“The days ahead” exhibition

Since its inception on December 18, 2007, the Khan Bank Art Gallery, located at the head office, has successfully hosted over 20 art exhibitions featuring an array of genres and styles. Today, the exhibition titled, “The days ahead” by painter

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B. Saikhanbayar has formally opened.
The world we live in today has created a magnificent history since ancient times, yet it also has carried on a legacy of civilization. Therefore, the present and future will seek to continue this long-standing legacy. In this exhibition, which

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reflects perpetual time and space,

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up-and-coming artist, B. Saikhanbayar, portrays his outlook on our lives through the relations between humans and nature and the infinite universe.
The artist who presented his first exhibitions titled “Progress 5 and me” and “Progress-10” in 1994 is now displaying over 30 paintings for the exhibition. The exhibition will be from June 8-17, 2009. During this time, the Khan Bank Art Gallery will be open to anyone who is interested in seeing how an artist depicts time and space through the stroke of a paintbrush.

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Portrait’s exhibition

A portrait is an artistic representation of a person, in viagra online canadian pharmacy which the face and its expression is predominant. The intent minimum cialis dose is to display the likeness, personality, and even the mood of the person.

The Expression of Love in Women’s Art

Her Presence In Colours XI- Mongolia 2014

Greeting to all!

First of all, I wish to thank all the participants for continued support and cooperation for the Her Presence In Colours XI International Women Artists

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Exhibition- Mongolia 2014 . Soon 124 participants from 20 different countries/territories will meet and exhibit together at the Mongolia Contemporary cialis hap eczane Art Gallery, Ulaanbaatar , I am sure everyone are excited about this trip to Mongolia.

For international flights, those who confirm early will get the cheaper fare. Once you have booked your tadalafil online pharmacy tickets to Ulaanbaatar, you are to send to us the details of your arrival so that the local organizer will arrange for pickup at airport.

Passport copy of all participants is needed for invitation and for hotel use. For those who have not submitted their passport, please do so before December 20.

Invitation letter to participants will then be sent out to all the Chairpersons of INWAAs/Country representatives in November.


The artists’ webpages is for proof reading purposes. Each participant is required to check their own webpage carefully. If there is any error for correction, please notify us via email :, before December 20, 2013.

The same content in the individual artist webpage will be printed in the catalogue.

We will keep you inform about the updated information.

With warm regards
Dr. Yuen Chee Ling
President, International Women Artists Council



Women Art Seminar

The Expression of Love in
Women’s Art

July 25, 2014 @ 9:00am

Mongolian Modern Art Gallery


All the Chairperson of INWAAs are invited to submit an abstract
related to the topic

Deadline for submission of seminar abstract:
non generic cialis sale
January 15, 2014

Length of abstract : about 500 words with related images

Selected abstracts will be published in
Art.Her Magazine (June cialis necessita de receita medica 2014 issue)

 Program of Activities
July 17 – July 26, 2014
Day 1 – July 19, 2014 (Sat)
Welcome International Women Artists from Chinggis Khaan Airport. Drive to Hotel.

Day 2 – July 20, (Sun)
International artists will visit National History Museum of Mongolia and Central Square and have cialis for women pictures.

In the evening, artists will view performance of National Song and Dance Ensemble.

Day 3 – July 21, (Mon)
City tour: Bogd Khaan Palace Museum, Tsagaan Darium Art Museum, Badamkhand Art Museum

In the evening, Opening ceremony of exhibition and reception.

Day 4 – July 22 (Tue)

Trip outside Ulaanbaatar city to the beautiful Terelj National Park. Fun adventures such as hiking, horseback riding and camelback riding.


A trip to Tsonjin Boldog to see Chinggis Khaan Complex Venue and experience nomadic life.

-9th INWAC Council Meeting – For Chairpersons of INWAAs and elected Council members only.

Camp fire party and sleep in a Mongolian ger.

Day 5, July 23 (Wed)
A trip to Mongol Shiltgeen near Ulaanbaatar City and watch traditional performances.
Return to hotel and rest.

Day 6 July 24, (Thu)
City Tour. cialis once a day effectiveness Fine Arts Museum, Mongolian Modern Art Gallery. Visit some artist studios.

Farewell party

Day 7 July 25, (Fri)
International Women Art Seminar:
at Mongolian Modern Art Gallery

The artists will be at the Gallery to take down the artworks to bring back to hotel.

Day 8 July 26 (Sat)


Generally, the term ‘modern art’ refers to the style and philosophy of art produced from the late 19th century and throughout the 20th century, a period defined by major societal change. The work of modern artists is usually associated with challenging past traditions or assumptions in the spirit of experimentation. Through their art, modern artists experiment with new ways of seeing and with fresh ideas about the nature of materials and functions of art.
The story of modern Mongolian art reflects the nation’s development over the past century. Following the Mongolian People’s Revolution in 1921, a new era began in the development of Mongolian art. Whereas art had previously been produced mainly by lamas in Buddhist monasteries, it now began to flourish as a secular practice. Mongolian artists were quick to learn new artistic techniques and styles from other countries, interpreting these according to their own local contexts. This Guide explores the main artistic styles that constitute modern Mongolian art: Mongol Zurag, Socialist Realism, European-style portraiture, Graphic Art
Art is both a mirror of society and a window through which we can view and deepen our understanding of the world and ourselves. It is a rich resource through which to consider historical and current ideas. Today, Mongolian artists continue to develop the field in various forms and directions, echoing the thoughts and hopes of Mongolian people.

Mongol Zurag
Yadamsuren U - Ovgon Huurch
A distinctive genre of Mongolian visual art, recognised as a national form of traditional painting, is “Mongol zurag”. Using the technique of mineral pigments on cloth, in the 19th century Mongol zurag artists began to diverge from the usual practice of depicting Buddhist icons to painting scenes from nomadic life. The genre differs from European painting through its unique artistic techniques and combination of colors that produce a flat, decorative quality. The style is also characterized by its vibrancy, limited perspective and use of humor. With roots in ancient rock art that depict the life of hunters and herders, a common subject explored by artists in this genre is the life and ways of Mongolian people.
Mongol zurag embodies the complex and extensive history of various cultural influences, including Buddhist, shamanistic and nomadic culture. Following several decades of socialist rule during which the genre was largely neglected, recent times have seen a revival of Mongol zurag, including many contemporary artists who are creatively integrating traditional techniques with contemporary motifs and themes. In this way, many young painters are reinventing the art of their ancestors and enriching that heritage through producing new works which reflect their own place and time.

Socialist Realism

Tsevegjav O - Azarganii Notsoldoon
In 1924, Mongolia gained independence as the People’s Republic of Mongolia. Over the next 15 years, according to its new Socialist principles, there occurred major purges and suppression of Buddhism in Mongolia. Many Mongolian artists were recruited to produce posters and other material that promoted the country’s Socialist ideology. As a result of close ties with the Soviet Union, the previous Buddhist aesthetic was gradually replaced with Western painting techniques. Throughout the 1930s and 1940s Soviet artists and teachers introduced their art in Mongolia and a number of Mongolian artists were sponsored to train in the Soviet Union. Through this means, Mongolian artists learned to use oil paints and became familiar with Socialist Realism as well as 19th century Russian Realism and Impressionism. The rapidity with which foreign styles and techniques were adopted perhaps reflects the highly adaptive nature of nomadic Mongolians with a long history of cross-cultural contact. Although Mongolian artists experimented with a variety of European styles, Socialist Realism was dominant during the socialist regime, depicting the lives of the people working hard together to develop the country.


Bold Do - Shargachin Tahia Jiliin
From the 1960s, Mongolian artists began to study in countries such as East Germany and Czechoslovakia where they picked up Modernist art styles. These artists broadened the range of Mongolian artistic expression and adopted a greater degree of individualism. Although discouraged by the socialist government, Mongolian artists created increasingly free and emotional compositions. By the 1980s, greater numbers of artists returned from study in Europe and modernism was flourishing in Mongolia. The Democratic Revolution of 1990 opened Mongolia to the world and artists were completely free to paint any subject and travel to any country abroad. New artist groups were formed committed to modern and contemporary art in reaction to the dominance of Realism over the past decades. Previously taboo topics, such as the Mongol leader Chinggis Khaan, and abstract art styles were explored with passion.

21st Century Mongolian Art
Dyihorjav R -Naadam

Today, the interests and styles of Mongolian artists continue to diversify even as they make the difficult adjustment to a market-economy. Artists have experienced challenges in terms of purchasing supplies and the limited growth of art infrastructure more generally. Nevertheless, many Mongolian artists are drawing upon their cultural heritage as inspiration for their work, exploring ideas of nature, power and Mongolian history. Art that addresses social issues is another important contemporary trend that is slowly developing. The democratic transformation has seen tremendous changes in Mongolian society, bringing many new ideas, lifestyle adjustments and also some social inequity. Mongolian modern artists in the 21st century are creating works which reflect the country’s experience of transition and nation-building. The Mongolian attachment to the expansive countryside, nomadic lifestyle and the overarching blue sky remain strong themes that are explored in contemporary Mongolian art.

12th Oita Asian Sculpture Exhibition call for entries

Born and raised in the town of Asaji, located in Oita prefecture, Fumio Asakura is one artist who helped define contemporary Japanese sculpture. The Asakura Fumio Memorial Park “Ai no Sono”(Garden of Love), located in Asaji, is a serene artistic expanse surrounded by lush greenery and pristine water, which uses The Asakura Fumio Memorial Sculpture Museum as its focal point. In honor of Fumio Asakura, Oita Prefecture and Bungo Ono City hold an exhibit in the hall of this park to encourage aspiring artists to create new waves in the world of Asian sculpture. The submission of highly-motivated works is anticipated.

Holding outline:

Organized by The Oita Asian Sculpture Exhibition Committee
Sponsored by Agency for Cultural Affairs
Co-sponsored by Saiki Printing Company Inc., Oita Bank, Ritsumeikan Asia Pacific University
In cooperation with Total Art Museum (Korea), National Art Gallery (Malaysia), Cultural Center of the Philippines (Philippines), China Artists’ Association (China)
Exhibition Period October to November 2014
Application Period August 1st (Thursday) to December 21st (Saturday) 2013

Application outline:
Exhibition Regulations (1) Applicant Eligibility
Applicants (regardless of nationality) must be under the age of 50 as of April 1st 2013 and reside in either Japan or any other Asian country or region. Group entries are welcome.
(2) Sculpture specifications

①Each applicant or group may submit only one original sculpture which has never been publicized. For group entries, only one sculpture per group is permitted.

②The dimensions of the sculpture must not exceed a total height, length and width of 150cm (including the base), and this must be in the completed form. Furthermore, the longest side of the sculpture must not exceed 70cm.

③The sculpture may be created from the materials of your choice however the sculpture must be able to withstand transportation and exhibition, and must be able to stand on its own.
(3) Application procedure
Applications via the internet

*The applicant from China must mail the application form to CHINA ARTISTS ASSOCIATION without using this system.

①Fill in the required information on the application form, attach sculpture photographs and submit your application.

②You must submit a JPEG image of your sculpture (640×480 pixels or less) together with your application. Photograph the sculpture to be submitted from three angles (one from front on showing the entire sculpture, and two from the angles of your choice: a total of three photographs). When photographing, do not use any special lighting, lenses, or filters. Images must be of how sculptures appear in their natural state. The sculpture must be in completed form. Do not submit photographs of model sculptures.

(4) Application fee

*Applications via mail (Only accepted in circumstances where application via the internet is impossible).
Fill in the required information on the application form and mail the application form together with the image data outlined in ② copied to a CD-R (copied disc must be Windows compatible [ISO9660], Macintosh and Linux data not accepted) to the Oita Asian Sculpture Exhibition Committee Office, with the postmark indicated on the envelope.

12th Oita Asian Sculpture Exhibition Application Here>>

The application ahead

Apply to: Oita Asian Sculpture Exhibition Committee Office
Post code 879-6224,
Asakura Fumio Memorial Sculpture Museum
1587-11 Ikeda, Asaji-Machi, Bungo-Ono City, Oita, Japan
TEL +81-974-72-1300
FAX +81-974-72-1302

Judging (1)First Selection Round
Approximately 60 sculptures will be chosen by the judges.
*Inquiries regarding applications will not be accepted by telephone.
Results: all applicants will be notified of the results and they will be displayed on the homepage.
Result notification: March 2014
(2)Second Selection Round
Approximately 30 sculptures are selected from those that passed the First Selection Round. From these 30 sculptures, one Grand Prize winner and six “Award for Excellence” winners will be chosen. Award winning and selected works will be on display during the exhibition period.
Results: all applicants will be notified of the results and they will be displayed on the homepage.
Applicants who pass the First Selection Round will be notified of how to ship their sculpture when the selection results are released. At that time you will be required to sign a document agreeing not to request the event organizers to pay damages in the event that the sculpture cannot be returned to you due to the country’s import export restrictions, or in the event that the sculpture is damaged. The applicant must bear all shipping expenses (including packaging). Applicants must insure their sculpture at the time of submission. In addition, the for the period from when the sculpture arrives to when it is returned to the applicant, the organizers will also insure the sculpture however the upper limit of the insurance policy valuation of the submitted sculpture will be JPY ¥100,000.

Judging committee Kiichi Sumikawa, Tadayasu Sakai, Koichi Yasunaga, Shuichi Goda, Takashi Fukai, Keiji Uematsu

Awards and Prize money

Grand Prize (one) JPY ¥2,000,000
Award for Excellence (six) JPY ¥500,000
Bungo-Ono Award (one) JPY ¥50,000(Chosen from among the selected sculptures, excluding the Grand Prize winner, via a poll of visitors to the exhibit)


(1)The sculptures will be handled with due care from the time of arrival until they are shipped back to the applicant. However the exhibition organizers will not bear any responsibility for damage resulting from faults in the materials or structure of sculptures, or from any acts beyond their control such as natural disasters.

(2)Do not submit a sculpture that cannot withstand being transported, or sculptures which may cause damage to or soil other sculptures.

(3)Applicants whose sculptures pass the First Selection Round hereby allow the exhibition organizers to picture the sculpture in publications for the purpose of publicizing and advertising, and give the right to publicize and reproduce images on the event website etc.

(4)All award winning sculptures, except for the sculpture awarded the “Bungo-Ono Award”, become the property of the event organizers.

(5)Applicants will assume all responsibility in the event of problems relating to copyrights if submitted sculptures.

(6)Plagiarized sculptures, replications, sculptures submitted by someone other than the original creator, or sculptures already exhibited elsewhere will be revoked of all prizes even after they have already been awarded.

Ger to Ger exhibition from 21st of August to 29th

Nine Dragon Heads makes an attempt and stimulation to leave better heritage in the future from the environmental and spiritual viewpoint. Human beings have repeated development with enormous domination and control about environment. There is no doubt that human beings are superior in every respect. Thinking back to the past history, many species on the earth were exterminated because for some reason the friendly environment which helped their birth changed into hostile attitude. While mankind, the first species that had the ability of operating on surroundings, have got out of innumerable change of nature to some degree But human has regarded the nature as the target of challenge and conquest, that is to say, as the subject of testing mankind’s ability in the process of transforming and possessing the nature. Ultimately if we are asked a question when the mankind will disappear, we may answer “the day will not be far distant.”

No matter how peculiar men may be, we must deeply realize that men are also the product of appropriate environment and the part of huge nature. Can men lead a life with understanding and respect about the world of nature. Can men maintain a life peacefully and fairly for the long survival of mankind. What decide this future of human is the mutual relation between human and human, human and circumstances.

NINE DRAGON HEADS changes close-minded ‘I’ into open-minded ‘I’ and urges to reconsider equilibrium relation between human and environment through the art holding in common human’s infinite imagination, experience, and ideas. NINE DRAGON HEADS joins various culture and unfolds international composite art. We hope to have in common community consciousness and impulsion of the cooperation existed deeply in

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human’s heart through these various forms. Human beings who have single species of Homo Sapiens Sapiens have developed wide and diverse culture. we understand that the diverse difference of culture is the speciality of culture

itself, not comparison or superiority.

NINE DRAGON HEADS expects to have a new understanding of human nature and world through the art as long as men. We anticipate that we can leave healthier environment-the heritage of future-to posterity through the curable function of art.

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“Nomadic spirit in Ulaanbaatar” French Mongolian joint exhibition

poster mail

2nd Land art biennale in Mongolia 360 will open this Friday at 6p.m

Welcome to see international artist’s incredible artworks.



Jessica Segall

May Tveit

Tuguldur Yondonjamts

July 27th – 31st 2012

Opening reception July 27th 7 – 9 pm

Mongolian National Modern Art Gallery

RAPID / TRANSIT is an exhibition that brings together three artists from New York City, Kansas City and Ulaanbaatar who share interest and conversation about nomadic culture.  All three artists traveled together in Bulgan Aimag to create new work for the exhibition. Common themes include a nomadic approach to space and value and the shift into globalization.

Jessica Segall’s work investigates the link between creativity and survival – focusing on the production of energy in practical and alchemical forms. She has had a long – standing interest in Mongolia as the last refuge of pastoral nomadism, preserving cultural heritage from centuries past, such as mastery of transitory shelter and survival in extreme conditions. In this exhibition Jessica will present two videos and a sculptural installation. “Twin Horsepower” is a video mash-up of lights powered by car engines in the countryside, both found and assembled.  “Unintentional Mongolian Blue Screens” is a video re-purposing found “blue screens” in public space as a representation of speculation on Mongolia’s future. The blue screen is a common techinque used in cinema and television, in which actors are filmed in front of blue background. The color blue is then removed in post production, leaving the actors in an empty, transient setting which can then be replaced as desired – a technique often employed in science fiction or fantasy. The same color blue also has special significance in Mongolian culture, as a representation of the open sky, used in ceremonial cloths and as a common architectural color.

Tuguldur Yondonjamts is working on a series of pen and ink drawings based on how the nomadic population defines and maps space. He researches his work through dialogue regarding which terrain presents danger and comfortable spaces to navigate. Other drawings are made from natural materials found in the region, incuding polluted waters from the gold mines. In this exhibition will be Tuguldur’s handmade Almas (Yeti) costume. Part space suit, part baby jumper, the Yeti suit is intened as a passage into the region’s wildness.  Tulguldur and Jessica worked collallaboratively towards a sculptural installation at the Mongolian National Modern Art Gallery including drawings of solar panels used by nomads to produce energy in the countryside.

May Tveit is continuing an ongoing series of site-responsive artworks called Product Placement that insert objects and balloons silkscreened in English and handwritten with Mongolian text into urban and natural landscape settings. Here in Mongolia she is interested in the intersections between nomadic and consumer culture.  “I see the balloons as ethereal products and emotional ideals and the fake Louis Vuitton luggage and handbags (purchased at the black market in Ulaanbaatar) as metaphorical carriers of meaning.”  The interaction of objects, words, location, people and animals in diverse locations provoke multiple meanings and interpretations of the work, asking the question “what is lost and gained in the wake of progress?” Here in the Mongolian National Modern Art Gallery May will present video and photographic documentation of her interventions and an installation of Louis Vuitton bags, yak ropes and balloons.


Jessica Segall is an American artist and musician living in New York City. Her work has been exhibited at the International Syposium for Electronic Art, The Havana Bienal, The National Gallery of Indonesia, The Queens Museum of Art and the The Aldrich Museum. Jessica is the recipient of the l.i.a.e.p. Travel Grant, The Gatsby Charitable Foundation Fund, an Emerging Artist Fellowship from Socrates Sculpture Park and a Jerome Fellowship at Franconia Sculpture Park. She has attended artist residencies at Skowhegan, The Sculpture Center, The Arctic Circle and Künstledorf Schöppingen. Jessica is a graduate of Bard College and received her MFA from Columbia University. Her work here is made possible by a grant from Art Matters and The Foundation for Contemporary Art.

little_Jess's image cropped

May Tveit is an American artist whose site-specific art and public art has received national critical reviews in Art in America, Art Papers, National Public Radio, The Kansas City Star, and Review Magazine. She has received numerous honors and awards including a Charlotte Street Foundation Fellowship, American Institute of Architects Allied Arts & Craftsmanship Award, ArtsKC Inspiration Grant, University of Kansas Research Awards & Grants, Hall Center for the Humanities Creative Work Fellowship, Andy Warhol Foundation Rocket Grant and was selected to participate in the Art OMI International Artist Residency. Her work is represented in the corporate collections of Hallmark International, Fishnet Security, National Center for Drug Free Sport, Andrews McMeel Publishing and private collections. She holds a Bachelor of Fine Arts Degree from the Rhode Island School of Design, studied in Rome with the RISD European Honors Program, and received her Masters Degree from the Domus Academy in Milan, Italy. She has taught at the Rhode Island School of Design, Kansas City Art Institute and currently teaches in Industrial Design at the University of Kansas and lives and works in the Kansas City, Missouri, USA.


Tuguldur Yondonjamts was born in Mongolia in 1977 and lives and works in Ulaanbaatar.  He received a Bachelor of Mongolian Painting (Thanka Painting) and Culture from the Mongolian University of Arts in 1997 and received a degree in fine arts from the University of the Arts Berlin ­in 2004.  His works have been exhibited internationally including the Mongolian National Modern Art Gallery in Mongolia, Haus der Kunst in Munich, the Cologne Art Fair 21 and The Mongolian Embassy in Berlin, Germany, The Museum of Modern Art / Hofstallungen in Vienna and Arsenale in Venice. He is the recipient of awards and including the Karin-Abt-Straubinger Foundation Fellowship and a residency at ART OMI in 2010.  Tuguldur was a visiting artist in the residence program at the Cité International des Arts in Paris.  Collections include the Francis J. Greenburger Collection.

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Art Matters

Foundation for Contemporary Art

The University of Kansas

Andy Warhol Foundation Rocket Grant

The Charlotte Street Foundation

Exhibition schedule of April 2012

Exhibition schedule of April:

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Date: Exhibition name: Organizer:
03,29-04,22 “The art gallery of the ancient nomads” Kharkhorum museum, Ministry of Education Culture and Science, Academy of Science 3rd floor main hall
04,09-04,14 “Colour” solo exhibition of E.Nomundari Painter E.Nomundari 2nd floor
04,16-04,22 “Victim of economy assassins” Painter M.Tuvshinjargal 2nd floor
04,25-05,06 “Russian painting exhibition” Painter Dmitrii Sandjiev 3rd floor main hall
04,26-04,29 “Children’s exhibition” Hobby school 3rd floor north hall

Sukhbaatar square-3 Central Cultural Palace “B” Ulaanbaatar, MONGOLIA.
Tel / Fax: + 976 -11 – 33 16 87
Tel: + 976 -11 – 32 71 77

+976-88 00 06 23

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