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.

Undur Gegeen Zanabazar’s prolific mastery of a wide range of disciplines, especially his ingenious ability to express the Buddha’s human and divine qualities in gilt-bronze sculpture, made him one of the most significant creators of Buddhist art. As an intellectual leader, he ushered 17^th-century Mongolia into a cultural renaissance, the legacy of which continues to inspire artists to this day.