Mongolia Pavilion - La Biennale di Venezia 2026

10/06/2026

Thank you! 😘

Энэ жилийн биеннальд монгол улсаас дөрвөн уран бүтээлч баг болон оролцсон нь анх удаа хоёроос дээш хүнтэй багаар оролцож буй тохиолдол боллоо.

10/06/2026

төслийн арын албанд нийт 20 гаруй залуус өөрийн бие сэтгэлээ зориулан ажилласан бөгөөд урам өгч, дэмжин тусласан хувь хүн, албан байгууллагууддаа гүн талархлаа илэрхийлье.

Үзэсгэлэнгийн бэлтгэл ажлын архив
Photo by: Yoo Seung Roh

🇲🇳 Mongolia Pavilion 2026
co-presenting Капитрон Банк / Capitron Bank |

BROSCODE |
Gonchigsumlaa Foundation |
Bluesun cacm / Хөх нар монголын орчин үеийн урлагийн төв

03/06/2026

Энэ жилийн биеннальд монгол улсаас дөрвөн уран бүтээлч баг болон оролцсон нь анх удаа хоёроос дээш хүнтэй багаар оролцож буй тохиолдол боллоо.

01/06/2026

Жаахан атлаа
зүрхэнд хамгийн тод үлдэх тэр гэрэл…✨

Олон улсын хүүхдийн эрхийг хамгаалах өдрийн мэнд хүргэе.

Гэрэлт. 25 жил. Тун удахгүй…

30/05/2026

Entanglements: Connectivities Across Borders is the title of Mongolia’s contribution to the 61st International Art Exhibition – La Biennale di Venezia. The s...

24/05/2026

Artist Nomin Bold .nomin
"I am what I do"
At first glance, the composition in this work evokes a mandala, a form deeply rooted in Buddhist visual culture. Traditionally, mandalas function as symbolic palaces into which deities descend and reside for initiation rituals. In Nomin’s work, however, these religious meanings are deliberately stripped away. The mandala becomes instead a cosmological diagram, a universe constructed through geometry and structured layering, where the ubiquitous presence of electric poles suggests humankind’s obsession with urbanization. The circular composition is structured by an octagonal framework, enclosing a dark central disc that may be read as a black hole, a portal into the unknown and a visualization of uncertainty itself.
This void at the center represents fear, curiosity, and the human desire to reach beyond what is known. Rather than standing apart from human activity, the unknown is positioned at its core. Around it, layers of elemental imagery unfold, derived from the traditional understanding of the universe as composed of earth, water, fire, air, and wood. Mountains signify the solidity of earth, while waves and flames suggest fluidity and transformation. Encircling the composition are interconnected skeletal figures of the protectors rendered in copper and linked by red thread.
The religious plurality embedded in Nomin’s work is deliberate and layered. While Buddhist iconography provides formal and symbolic structures, shamanic knowledge systems also shape the work’s underlying logic. According to shamanic belief, protective layers of fire, water, and wind surround the human body, shielding it from harm. The artist thus visually integrates these beliefs by surrounding the mandala with concentric elemental rings. Clouds encircle the entire composition, signaling both void and presence, emptiness and matter. In this way, the universe is rendered not as an abstract concept but as something tangible, layered, and inhabited.

23/05/2026

Artist Tuguldur Yondonjamts
“The Antipode Story”
At the heart of this poem is Tuguldur’s interest in relational landscapes and the idea that geography itself is alive. Here shadows and snakes are animated as living forces, and interact with landscape and human visitors on the road. The artist suggests about significance of learning a “water language,” seeing the world “through snake’s eyes,” and the habitat in snake’s body – all of which are important to human interdependence with nonhuman agents. In his vision, there is no strict boundary between human and nonhuman entities as they all cast their footprints and shadows in this world.

"The Dragon Blood Story"
Dragon’s Blood is a deep red pigment derived from the sap of the dragon blood tree (Dracaena cinnabari), native to the Socotra island in the Arabian Sea, part of present-day Yemen. The tree produces a resin which resembles coagulated blood, giving rise to its evocative name. Historically, the pigment was traded and used across the Eurasian world for medical purposes, rituals, art-making, and even in the crafting of objects, such as violins.
The name Dragon’s Blood is rooted in Greek mythology. According to the legend, Ladon, a formidable dragon, was slain by the hero Hercules. From the blood that spilled onto the earth at the site of Ladon’s death, the dragon blood tree is said to have grown. After killing Ladon, Hercules is said to have traveled north toward the regions surrounding the Black Sea and the Caspian Sea. There, he encountered Echidna, Ladon’s sister—a hybrid being, half woman and half serpent. Hercules and Echidna lived together for several years and had three sons. When it came time for Hercules to depart, he left his bow behind and declared that the son strong enough to bend it would inherit kingship.
In this work, Tuguldur links this mythology further to his core idea of inherent human-nonhuman connections as he envisions a human allegedly swallowing dragon’s blood for a specific purpose to understand the language of birds.

22/05/2026

Artist Dorjderem (Dermee) Davaa
"Finite"
Dermee’s practice is deeply rooted in the material, symbolic, and philosophical significance of felt. One of the central works in this exhibition is a three-part felt installation made of industrially processed felt. The central panel is the longest, featuring a large, perforated hole on the top register, which is illuminated by projected light. The adjacent left and right panels are shorter, and all three surfaces are punctured with numerous smaller holes of various sizes in the bottom. These perforations were deliberately pierced by the artist, who was inspired by a vision of ger (yurt) encampments as seen from above on the steppe (see fig. 11). They all create a constellation-like pattern across the three felt panels.
Felt holds a profound connection to the artist’s nomadic heritage. For millennia, felt has been used by nomadic peoples to construct gers (yurts), serving as walls that protect inhabitants from external conditions while maintaining a sense of permeability. Visually, the installation is highly symmetrical. The central opening protrudes outward and is emphasized by spotlighting, which the artist describes as volcano-like—reminiscent of geological formations that punctuate expansive landscapes. The steppe landscape itself becomes a metaphor for existing beyond illusory borders and constructed divisions.

"Meeting in Silence"
The artist has been working with felt for over a decade, and this material exploration extends into smaller installations, such as Meeting in Silence. This work consists of objet trouvé – two discarded brass wind instruments.
Meeting in Silence also proposes silence as a form of sound. When viewers stand between the two objects, they engage in forming an intimate, invisible dialogue. By inserting themselves into this silent encounter, viewers become active participants in the process of transformation and connection, the ideas that are at the core of this work.

21/05/2026

Artist Gerelkhuu Ganbold
"Exoplanet"
Within the context of connectivities, Gerelkhuu presents a monumental painting titled Exoplanet. An exoplanet is a planet that exists outside our solar system, orbiting a star other than the sun, and the choice of this title signals the artist’s intention to frame the Mongol imperial past, and the Chinggis Khan (ca. 1162-1227) in particular, as an extraordinary and almost otherworldly phenomenon. The composition consists of multiple panels painted in a Mongol Zurag style and populated by rows of armored Mongol soldiers on horseback, with the Chinggis Khan positioned at the compositional center.
The painting opens and closes with images of dinosaurs, situating Mongol heritage within a much deeper paleontological history. This framing reminds viewers not only of the ancient roots of Mongol civilization, but also of Mongolia’s land itself, which is rich in dinosaur fossils and paleontological discoveries. These images suggest that when we think about the historical teleology – here exemplified by the Mongol past – we are also thinking about the evolution of knowledge—how hypotheses are revised, errors corrected, and understanding gradually refined.
Throughout the composition, the rows of soldiers are accompanied by numerical markings that allude to the historical organization of Mongol armies into units structured by decimal systems. The soldiers are depicted shooting arrows backward while riding at full speed. Commonly known as a Parthian shot, it is a well-known visual motif deeply rooted in the Eurasian tradition of the nomads and long associated with Mongol military prowess. The layered visual field is filled with mathematical, physical, and chemical notations throughout the composition.
At the heart of the painting stands the image of the Chinggis Khan, though the artist deliberately avoids conventional portraiture. Instead of depicting a face, the figure’s visage is replaced by a chemical formula of a diamond, symbolizing endurance, strength, and the lasting power of the Mongol networks initiated under the great Khan.

20/05/2026

🎉 One of the key communication tools is the press kit and pavilion merchandise for the national pavilion at La Biennale di Venezia.
According to the visitor data, a total of 3,733 journalists attended the pre-opening days for
Of these, 2,641 (70%) represented international media outlets from around the world. ;) source from official.

Mongolia Pavilion
co-presenting Капитрон Банк / Capitron Bank
BROSCODE
Gonchigsumlaa Foundation
Bluesun cacm / Хөх нар монголын орчин үеийн урлагийн төв