Yondonjamts’ practice is a visual manipulation of his training in classical Mongolian painting against his research-based art practice. His work can be understood as a series of journeys, not unlike those of the historically nomadic people of Central Asia. For the artist, the process of his scientific and mystical studies is as important as the artistic output. He presents both real, imagined, and interpreted landscapes, tracing the coexistence between the tamed and untamed world.
In Mongolia, nomadic culture and its symbiotic relation to nature is rapidly disappearing as large-scale mining of gold and coal is exploited without effective controls. The artist’s current research focuses on the origin and extraction of natural resources, issues of property and ownership in a traditionally nomadic society, and the role of history and mythology. During his residency, Yondonjamts will be inquiring into parallels between changes affecting Mongolian and UK contemporary society, urban conflicts and environmental issues.
The exhibition will include an open studio in which the artist will be making a new drawing reflecting his research, presented alongside existing works including his 2016 moving image work An Artificial Nest Captures a King.
Yondonjamts lives and works in Ulaanbaatar, Mongolia, and New York, USA.
The residency and exhibition is supported by Arts Council England and UCL Department of Anthropology's Tavan Tolgoi (Five Heads) project, which brings together the work of five anthropologists and five artists to respond to the dramatic rise and fall of Mongolia’s economy. Conversations and events will be co-organised between the two projects.
The programme is partly supported by UCL Institute of Archaeology (AHRC Heritage Priority Area).
ABOUT THE ARTIST
Tuguldur Yondonjamts (b. 1977) is a Mongolian artist who works primarily on paper, but has expanded his practice to video and installation art. His work is very much dependent on research and careful analysis of certain environments and materials. By using investigational logic, he is able to create large scale drawings and diagrams, representing imagined journeys. The nomadic culture of Central Asia is critical to interpreting Yondonjamts’s work. For him, these are symbolic endeavors, studying the issues affecting Mongolia’s society and economic development.