Art and spirituality in the Mongolia Pavilion at the Venice Biennale: interview with the curator | Artribune

Shamanism and nomadism are spiritual and social practices still very much alive in Mongolia today. How does this affect artistic practice? Gantuya Badamgarav, curator of the A Journey Through Vulnerability exhibition at the Venice Biennale explained it to us

Munkhtsetseg Jalkhaajav, A Journey Through Vulnerability, Mongolia Pavilion at Venice Biennale

Is titled A Journey Through Vulnerability the exhibition of Munkhtsetseg Jalkhaajav (Mugi), which represents Mongolia in Venice. The curatorial approach that had characterized the previous editions, strongly linked to the spirituality of the culture of this fascinating people, was confirmed again this year. Gantuya Badamgaravfounder of the Mongolian Contemporary Art Support Association and curator of the Mongolia Pavilion, explains the concept of the project.

Munkhtsetseg Jalkhaajav, A Journey Through Vulnerability, Mongolia Pavilion at Venice Biennale
Munkhtsetseg Jalkhaajav, A Journey Through Vulnerability, Mongolia Pavilion at Venice Biennale

How strong is the concept of spirituality in contemporary Mongolian culture?
As social taboos and censorships ended in 1990 with the collapse of socialism, our ancient traditions and culture have aroused renewed interest among different generations. Buddhism emerged first, then shamanism was also reborn. Today I see a growing interest in ancient philosophies, astrological wisdom, nature, and sustainable spiritual practices and lifestyles. Many of our contemporary artists draw inspiration from Buddhism and shamanism for their works. However, when it comes to spirituality, it cannot always be linked to religion: in my opinion, a spirituality is a process of self-realization, always very personal. I have always believed that the power of art was based on its spiritual value.

Munkhtsetseg Jalkhaajav, A Journey Through Vulnerability, Mongolia Pavilion at Venice Biennale
Munkhtsetseg Jalkhaajav, A Journey Through Vulnerability, Mongolia Pavilion at Venice Biennale

How did you conceive the Pavilion?
The exhibition A Journey Through Vulnerability by Munkhtsetseg Jalkhaajav presents sculptures, a video installation and works on paper distributed in three rooms. The first, entitled Dream of Gazelle, reproduces a stable housing a gazelle, partly sculpted, partly on multimedia projection; the second room, Pulse of Lifereflects the concept of “cosmic body”, a term that the artist borrowed from the Buddhist concept of samsara, according to which all particles and living organisms constitute a single universe. To signify this idea of ​​wholeness, Mugi has created hybrid sculptures halfway between man and animal. In the last room, Miscarriagethe artist exhibits Keeper of Protector Bird, which pays homage to the traditional spells of shamans to protect women from miscarriage. The entire exhibition explores the concept of samsaracompassion and healing, and is accompanied by a soundtrack specially created by the musician Davaasuren Damjin playing a harp, the sound of which recalls those traditional rituals of interaction with departed souls, which expand spatial and spiritual awareness.

Munkhtsetseg Jalkhaajav, A Journey Through Vulnerability, Mongolia Pavilion at Venice Biennale
Munkhtsetseg Jalkhaajav, A Journey Through Vulnerability, Mongolia Pavilion at Venice Biennale

What is the most interesting aspect of Mongolian contemporary art?
All four editions of the Pavilion are in some way linked to nomadic culture, shamanism and Buddhism. Mongolia is one of the last countries in the world where the nomadic lifestyle is still a living tradition. We are a people mentally and spiritually very attached to ancient culture and artists often use elements of shamanic and nomadic traditions in their practices, appreciating the knowledge of their ancestors on a very deep level. Many aspects of our tradition are still practicable, they could also be elements for a sustainable future, and our artists are aware of this. I think Mongolian art has so much to offer to the world and deserves attention and it is very important for our artists to be present on international scenarios such as the Venice Biennale, to share their visions, learn from others and increase their knowledge.

Niccolò Lucarelli

http: //www.mongolia-pavilion-venice-biennale.com/

Art and spirituality in the Mongolia Pavilion at the Venice Biennale: interview with the curator | Artribune