21 September 2016
Catalog LAM 2016
Catalog of the 4th Biennial Catching the Axis is out now. Full review on all realized artworks | 104 pages | printed in Mongolia September 2016.
preview
Preface
2016 marks the 4th iteration of the Land Art Mongolia. Right from the start in 2010 the Biennial has manifested itself as a steady factor in the Mongolian arts scene and a prized addition to the multifaceted cultural relationship between Germany and Mongolia. The creative minds behind Land Art Mongolia set off with the idea to disconnect themselves in their artistic process from the confines of the established arts scene in the capital cities and instead involve the land, the people and the local traditions to enhance and evolve their creativity. Mongolia is rich with tradition and the lo- cal art reflects that in abundance. Land Art Mongolia is set to fuse these skills with the progressive mindset of western artists to create an integrative and innovative approach that reflects both worlds.
The exhibitions have shown that this collaboration between renowned Mongolian and international artists has the potential to trigger a transformation process within the Mongolian art scene and foster a new generation of aspiring creators with a global vision.
Stefan Duppel
Ambassador of the Federal Republic of Germany in Mongolia
Catching the Axis
Within the last few years, more than 150 biennials have arisen. The competitive scenario has thus become more complex and inevitably had to result in a refinement for every one of them. The aim of Land Art Mongolia Biennial, this year taking place for the 4th time, is clearly set: it is dedicated to Land Art as a form. And LAM is, up to now, the only biennial worldwide to realize this aim. The utmost commitment of the participating artists and the team, the uniqueness and the high quality of the artworks produced have added to the good reputation of the biennial over the last few years. It for sure has become a meet- ing place for those who have a common interest in Land Art.
LAM follows a broad concept in terms of the artists selected: they shouldn’t just illustrate a thesis but rather work on a multiplicity of ideas and forms. Outdoors and in the countryside. It opposes the contextualized life in the city with all its distractions. Though Land Art is the core theme, there are interfaces with installation work and performances. The range goes from using pure nature as it is in order to produce the work of art - the most reduced position here of all - up to adding objects or transforming natural elements into a new form, or creating completely new pieces which would work in reference to nature. Nature not perceived as a romantic ideal, but rather as a real-life presence and source for sustainability and a vision for the future.
Work is one of the main preoccupations of our society. Work generates income, status and emancipation. But in the 21st century, the world of work is being reshaped. New hopes, but also new challenges arise, the world gets closer together and seems to transform. The awareness of a once firm and solid world begins to sway.
It becomes obvious that there is a need for a new attitude to- wards the things surrounding us. In this situation, the search for a stability within oneself - as one’s own anchor in life - becomes more and more urgent. With this in mind, questions arise such as: what is the personal point of view? Where are we rooted – if at all? These thoughts lead us to the theme of this year’s Biennial: Catching the Axis – between the Earth and the Sky.
The title calls for a material and sensual approach, making a case for its decisive role in Land Art: it provides us with a subject for reflection and analysis on the basis of each artist’s working background. The concept requires the artists to look within themselves both in terms of investigation but as well as gaining a new flexibility and inner strength. In the end, it develops towards a spiritual aspect.
By its own aims and through the period of eight working days in an artist’s camp in a remote rural setting in Mongo- lia, LAM is the place for the artists to gather, to discuss, the site for a tangible implementation in the individual working process. Artists from very different countries come together: from Europe, North America and Asia. Outstanding in their own countries, they explore new perspectives in the reciprocal relationship of contemporary art (and in this case land art as a special form) and society within a global context. These transformative processes have an impact on art as well, result- ing in new techniques, new ways of working. New questions arise: how does the special location influence the work of the artist? Does the artist have to make concessions as to his formerly planned idea of realization? What is the impact of this concentrated artistic knowledge on the other participants? For sure, the days and nights of discussions, of working together have enriched and enlarged everybody’s view. The process itself of developing the works is the pre- dominant aim of the Biennial. The presentation to and the discussion with the audience in the exhibition site later on in Ulaanbaatar will be the second.
Uli Seitz
Director of Production LAM 360°
preview
Preface
2016 marks the 4th iteration of the Land Art Mongolia. Right from the start in 2010 the Biennial has manifested itself as a steady factor in the Mongolian arts scene and a prized addition to the multifaceted cultural relationship between Germany and Mongolia. The creative minds behind Land Art Mongolia set off with the idea to disconnect themselves in their artistic process from the confines of the established arts scene in the capital cities and instead involve the land, the people and the local traditions to enhance and evolve their creativity. Mongolia is rich with tradition and the lo- cal art reflects that in abundance. Land Art Mongolia is set to fuse these skills with the progressive mindset of western artists to create an integrative and innovative approach that reflects both worlds.
The exhibitions have shown that this collaboration between renowned Mongolian and international artists has the potential to trigger a transformation process within the Mongolian art scene and foster a new generation of aspiring creators with a global vision.
Stefan Duppel
Ambassador of the Federal Republic of Germany in Mongolia
Catching the Axis
Within the last few years, more than 150 biennials have arisen. The competitive scenario has thus become more complex and inevitably had to result in a refinement for every one of them. The aim of Land Art Mongolia Biennial, this year taking place for the 4th time, is clearly set: it is dedicated to Land Art as a form. And LAM is, up to now, the only biennial worldwide to realize this aim. The utmost commitment of the participating artists and the team, the uniqueness and the high quality of the artworks produced have added to the good reputation of the biennial over the last few years. It for sure has become a meet- ing place for those who have a common interest in Land Art.
LAM follows a broad concept in terms of the artists selected: they shouldn’t just illustrate a thesis but rather work on a multiplicity of ideas and forms. Outdoors and in the countryside. It opposes the contextualized life in the city with all its distractions. Though Land Art is the core theme, there are interfaces with installation work and performances. The range goes from using pure nature as it is in order to produce the work of art - the most reduced position here of all - up to adding objects or transforming natural elements into a new form, or creating completely new pieces which would work in reference to nature. Nature not perceived as a romantic ideal, but rather as a real-life presence and source for sustainability and a vision for the future.
Work is one of the main preoccupations of our society. Work generates income, status and emancipation. But in the 21st century, the world of work is being reshaped. New hopes, but also new challenges arise, the world gets closer together and seems to transform. The awareness of a once firm and solid world begins to sway.
It becomes obvious that there is a need for a new attitude to- wards the things surrounding us. In this situation, the search for a stability within oneself - as one’s own anchor in life - becomes more and more urgent. With this in mind, questions arise such as: what is the personal point of view? Where are we rooted – if at all? These thoughts lead us to the theme of this year’s Biennial: Catching the Axis – between the Earth and the Sky.
The title calls for a material and sensual approach, making a case for its decisive role in Land Art: it provides us with a subject for reflection and analysis on the basis of each artist’s working background. The concept requires the artists to look within themselves both in terms of investigation but as well as gaining a new flexibility and inner strength. In the end, it develops towards a spiritual aspect.
By its own aims and through the period of eight working days in an artist’s camp in a remote rural setting in Mongo- lia, LAM is the place for the artists to gather, to discuss, the site for a tangible implementation in the individual working process. Artists from very different countries come together: from Europe, North America and Asia. Outstanding in their own countries, they explore new perspectives in the reciprocal relationship of contemporary art (and in this case land art as a special form) and society within a global context. These transformative processes have an impact on art as well, result- ing in new techniques, new ways of working. New questions arise: how does the special location influence the work of the artist? Does the artist have to make concessions as to his formerly planned idea of realization? What is the impact of this concentrated artistic knowledge on the other participants? For sure, the days and nights of discussions, of working together have enriched and enlarged everybody’s view. The process itself of developing the works is the pre- dominant aim of the Biennial. The presentation to and the discussion with the audience in the exhibition site later on in Ulaanbaatar will be the second.
Uli Seitz
Director of Production LAM 360°
