Child of God emanates ethereal tranquility. As birth and death demarcate the boundaries of earthly life, what happens before and after, or even in between, remains largely a mysterious phenomenon. In her tenth solo exhibition, artist J. Anunaran explores the vast topic through her innovative techniques and personally stylized approach to ancient Mongolian spiritual imagery in correlation with Tibetan Buddhist animal symbolism. Child of God represents hope, longing, rebirth, and the space of transition between material and non-material realms. It intimates the artist’s concept of beingness at the crossroads of dreamlike reality and mythical fantasy.

This past week of November 17-21, 2021, an art fair featuring over 100 artists and 10 art galleries showcased fall season’s best and latest works. Seeing an eclectic array of art concentrated in one spacious venue at Misheel Expo was an unusual treat for art lovers. Though modest in promotion and size by comparison to internationally recognized art fairs, Ulaanbaatar’s Art Week signaled a promising pulse in an emerging art market. The question is, can the fair impact the market by attracting more prospective buyers?

To a perfectionist, viewing T. Enkhbold’s fourth “Mining” exhibition could be a slightly flustering experience. The entrances to the show are barricaded with wooden fences, rusted scaffolding, and backs of seemingly empty canvases. Once inside, you are compelled to maneuver around dried camel droppings – evidence of the artist’s performance from the opening night.

The year 2020 marks thirty years since post socialist Mongolia has availed itself of the benefits from market economy and the freedom of expression of thought. Contemporary art in Mongolia has been a significant representative of the changes that shape our society. Due to lack of finances, Mongolian contemporary art today is still not at the forefront of the expansion of societal intellect. But why should anyone, let alone the government, care about what a few eccentrics have to say by pouring airag all over themselves or by running around with funny objects on their head? This article aims to present a general assessment of the themes based on some of the artworks created by forty some artists during the “Urtuu” Art Camp project. Five major challenges in Mongolian society are addressed in the artworks viewed on location and at the subsequent exhibitions in Ulaanbaatar: corruption, preservation of cultural heritage, conservation of nature, feminism and awareness. I would like to propose that the works created in “Art Camp” and the issues they raise, reflect, like a mirror, the current sentiments of the individual as a citizen in a developing democracy. They are, therefore, an essential component of public awareness and education for a healthy civil society.

Since the spread of COVID-19 the world has seen 10.5 million cases of illness and lost 512,000 people so far. In Mongolia, as of today, thanks to the timely actions by the government and the heroic efforts of health care professionals, there are no deaths, 220 people are sick (who came from out of country), and 175 people have recovered. Due to the strict isolation of those who are infected, the situation in the country is kept under control. Therefore, society in general is circumspect but relatively free to conduct daily life. Since the government’s announcement of lockdown on February 13^th, schools, museums, libraries and theaters are closed, even though their reopening at the end of each month was announced several times before. Currently, public institutions are expected to reopen on July 15^th. As shows and events are cancelled or indefinitely postponed, cultural life in the country remains at a standstill. Those of us who are lucky enough to stay safe, worry about sustenance over a longer period of time. During this time of crisis, three different art exhibitions in private galleries have come as a surprise relief to help nurse our listless minds in quarantine.