OtGO Otgonbayar Ershuu
Breathing in … breathing out … in … out – drawing a line. Repeat.
This is the meditative artistic practice of Otgonbayar Ershuu, who goes
by the short name, OtGO. He is one of Mongolia´s most remarkable
artists and has been living in Berlin for about twenty years. A
fact that has expanded his cultural experiences and also impacted on
the material basis of his artistic work. His spiritual core, however,
remains firmly routed in Mongolia´s cultural heritage.
Drawing line after line, after line, OtGO´s works form to become
complex textures of pictorial traces, interwoven with layers of
meaning. His work is meditative and iterative in many ways. Being a
studied Thangkha-painter, he comes from a long tradition of religious
image making in Lama-Buddhism, a tradition in which painting and
meditation never were separate activities. In this tradition each line,
each patch of color is both, premeditated and meditation in itself.
Lamaist monks were only allowed to apply their craft to to
Thangkha-painting after long years of rigorous training.
It is important understand that Thangkhas don´t just `represent´ the
notion of a cosmic order in Buddhism, they actually manifest this
order. A fact that is reflected in the process of making a Thangkha.
Its composition and order were never to be discerned by the painter,
instead the underlying design has always been based on long traditions
and metaphysical deliberations within the faith. Someone chosen to
`execute´ these concepts, had to be a person, worthy and capable of
realizing an “artwork” that could manifest this superior order.
Furthermore, in the process of painting a Thangka, the `painter´ who
serves as a mediary to the goal of successfully channeling these
spiritual energies, could only finish a Thangkha by himself to a
certain point. Once almost completed, more monks would be gathering
around the painter to chant and recite religious texts, while the last
part was finished – the painting the eyes of all the figures, giving
them their souls. Only then a Thangkha was considered to manifest the
actuality of the spiritual order of the world. What does that mean? –
As much as in mysticism, having the capability of sight does not mean
actually `seeing´ in a deeper sense, a Thangkha transcends its material
existence as a painting to become a manifestation of a higher reality.
Alos noteworthy is the fact, that the Mongolian language only has one
word for both, painting and drawing – zurag. While drafting (drawing)
and execution (painting) in a Western tradition are very separate
things, in the Mongolian tradition there is no distinction between
intention/conception and realization. What that means, is that artists
from Mongolia start from a very different background than our Western
ideas about art.
Such is the tradition from which OtGO has departed. And departure here
also means not only OtGO´s dis-, or re-location to Berlin, but also the
fact that he is radically re-interpreting image-making from with his
Mongolian heritage, not by shedding its spiritual dimension, but its
artistic and social context. The practice of drawing line after line in
a meditative state remains active in his process, the subject matter,
however, now incorporates his new social and political contexts and his
very personal attitudes towards them.
Take for example his massive work Cabinet of curiosities which in itself is divided into four parts, that deal with matters of life (Fetus) and death (Memento Mori) and much in between, not the least being (Horses),
which for any Mongolian is a big deal, because “Mongols believe that
the goal of life is to live `tegsh´, in balance with the world. One
stands alone and in power at the center of the world, with the infinite
blue Father Heaven (Tenger) above and Mother Earth (Gazar Eje)
supporting and nurturing below. By living an upright and respectful
life, a human being (hun) will keep his world in balance and maximize
his personal power (windhorse, hiimori).1
A horse in Mongolian culture therefore is much more than a commodity,
or a matter of pride, a horse is a manifestation of man´s soul, his
fate and future.
The Cabinet of curiosities is
comprised of hundreds of (mostly) A5-sized papers that form large
blocks which serve as visual containers of OtGO´s subject matter. The
first layer of those papers is formed by collages of used historic
postal stamps from both Germanies, Europe, Mongolia and beyond. Those
collages serve as background for OtGO´s drawings/paintings. It is
important to mention here that Chinggis Khaan and his successors
created the most efficient postal system the world had ever seen in the
early 13th century, making it possible to relay information from the
Chinese sea to the borders of Europe within 7-10 days by horse
messengers. Obviously OtGO´s choice here is not just arbitrary, but a
subtle allusion to the achievements of Mongolian heritage.
On top of this metaphorical `background´layer, OtGO has inscribed, not
without sometimes acerbic criticism, his vision of a cosmic dis-order.
His pictorial world is inhabited by men and women (both mostly naked),
aquatic creatures, like the “OtGO-pus”, but also a variety of
fishes and abundant jellyfish. Monkeys and zebras also play a
prominent role – why? – neither of which live in Mongolia.
Asked about monkeys, his dry riposte was: “There are plenty of
`monkeys´ in Mongolia.” And about zebras: “Those are beautiful, elegant
animals. They look like horses, but man has never been able to
domesticate them. They, in fact, are the only mammals that cannot be
domesticated.” Again, this begs for an explanation and a
contextualization. The first and easy answer is about the monkeys –
many Mongolians suffer from the state of their nation. Even with all
good intentions there are two major factions pitted against one
another, and those are the proponents of traditional nomadic cultures
and the post-soviet-capitalist entrepreneurs who seek to exploit
Mongolia´s natural resources. Both are on a collision course about
access to land. In other words, the deeply routed Mongolian ethics
about living in harmony with nature is profoundly under siege from the
pressures of modern economic dynamics and Western lifestyles.
The ”zebra”, as a metaphorical animal in OtGO´s work, native to
Africa, a whole different continent altogether, becomes a
“signature animal” in his work for the incommensurable quality of
nature – an animal that cannot be subjected to man´s will. In a
way this is OtGO´s way of advocating the traditional rights of nature
versus man´s illicit infraction on nature´s integrity. One must know,
that in Mongolian culture, just digging a hole into the soil is an
impermissible violation of nomadic ethics, that at least requires a
ritual, asking for permission. At the same time, exploiting natural
resources is seemingly a necessity in order to develop and modernize
the country. Mongolia is rich in gold, uranium, copper and coal – much
of which it sells to China, a country that it shares 250 years of
history with. During the Yuan dynasty, China was ruled by Mongolia. In
fact, Beijing was a Mongolian foundation. The tides have turned…
Talking about tides – how does the aquatic life in OtGO´s work relate
to a country that has no connection to the sea. The answer is yet
another metaphor. One can think of the ocean as a vast and mostly
undiscovered part of our planet. A place different to ours. In the
artist´s vision this realm is also under siege by humanity – he thinks
of jellyfish as a marker for pollution of the waters. However, there is
also a brighter notion. The Mongolian word for ocean is далай – as in
Dalai Lama. And this ocean is inhabited by many a OtGO-pus.
So, looking deeper into the artist´s work, layer upon layer starts to
unfold, revealing a complex cultural heritage that he connects to with
an international sensibility for the needs to protect nature, but also
to assert himself as an independent artist.
There is a gap between the understanding of nature between East and
West, however, that is mostly due to a hyperbolic conviction in the
West about ecology, that does not have enough knowledge, nor the
understanding of traditional values pertaining to nature in Mongolia,
nor the sensitivity towards the cultural ramifications thereof. The
West´s notion of nature is mostly (and sadly) aesthetic. Western people
have forgotten how to live with nature. They are plainly romantic about
it, and they still believe they can control and govern nature´s course.
A notion that originates from Western monotheistic hubris. The bible
has called upon its subjects to subjugate nature… – None of that
exists in Asian cultures.
Nature in Mongolia is never separate from human life until today. Proof
of that is in the fact that shamanic practice is still strong and
widely practiced. At the core of those practices is the need for all
Mongolians to find a balance between “Tenger” and “Gazar Eej”2
This tradition in Mongolia is older and stronger than that of
Lama-Buddhism. Most Mongolians would identify with Tengrism before they
would with other denominations. However, already during Möngkhe Khaan´s
reign (grandson of Chinggis Khaan) almost all international religions
were present at his court in Kharkhorin – originally just for reasons
of gathering intelligence. A fact that makes Mongolia a very liberal
society in terms of religion today.
This heritage has enabled OtGO to fluidly connect to Western cultures
and incorporate pictorial traditions into his work. There is a
discernable adaptability in Mongolia that vouches for its future.
Surprisingly, most Mongolians call Germany their third neighbor. Being
wedged between China and Russia, about one percent of Mongolians
actually speak German ( which in a population of about three million
people means 30 000 individuals), a fact which owes a lot to strong
ties between the formerly communist part of Germany and Mongolia.
Whatever this may mean – there are tangled histories and wild
aspirations to deal with. And it is even more complex. Mongolia and
Tibet share an almost 500 years long tradition of Lama-Buddhism. The
first and most important artist in that context was Zanabazar, who was
trained as a Buddhist monk in Tibet and returned to Mongolia in the
second half of the 17th century to become the spiritual leader of
Mongolia, a powerful diplomat and the finest of artists – some even
call him the Michelangelo of Mongolia. His influence is strong until
today, inspiring contemporary artists to work in the tradition of a
Lamaist pictorial heritage.
However, in the long history of the country, much of its identity was
repressed – during the Chinese Manchu occupation, or the Soviet empire.
Whenever in modern times Mongolia found a way to assert its own
identity and traditions, Lama iconography came up again as an
integrating force. It has since simply been called: Mongol Zurag –
Mongol painting. A practice, that was not allowed during the Manchu
occupation, nor during Soviet times. After 1990 however, is became a
strong force again.
In essence, art in Mongolia today is fueled by its cultural heritage
rooted in Tengrism first, Lama-Buddhism second, and the achievements of
what Pope Francis, when visiting Mongolia, called the “Pax
Mongolica”, a period of 250 years of peace after the revolutions of
Chinggis Khaan.
The work of OtGO is not only witness to these energies. His work is
channeling notions of art from and in Mongolia. OtGO is not just part
of it – he is a driving force in this dynamic.
Thomas Eller
1 A Course in Mongolian Shamanism – Introduction 101, Golomt Center for Shamanist Studies (Hg.), Ulaanbaatar, Mongolia 1997, https://members.tripod.com/Mongolian_Page/shaman.txt
2
Tenger being the abstract deity of the sky (heaven would be a
misleading term) and Gazer Eje (representing the female aspect of the
earth)
CABINET of CURIOSITIES
16th May 2025 – 28th June 2025
A solo exhibition by OtGO
Curated by Thomas Eller
VALLETTA CONTEMPORARY
15, 16, 17, Triq Lvant (East Street), Valletta, VLT1253, Malta
info@vallettacontemporary.com
General enquiries: 00356 21241667
OPENING HOURS
Wednesday to Saturday 14:00 - 19:00
Sunday to Tuesday Closed
DALAI by OtGO 2019-2020, acryl on canvas 160 x 400 cm
Cabinet of Curiosities Fetus 2 by OtGO 2021, ink and acryl on original Stamps, 210 x 148 mm (A5)
Wunderkammer - 85
by OtGO 2023-20024, consists of 100 equal-sized single paintings, Acryl
on original Stamps, black A4 paper, each measuring 210 by 297 mm (Wunderkammer: 100 pictures with about 6000 stamps)
Wunderkammer Zebras 2 by OtGO 2023-2024 acryl on original Stamps, 210 x 148 mm
Wunderkammer Zebras: 24 pictures with about 430 stamps by OtGO
2023-2024, consists of 24 equal-sized single paintings, acryl on
original Stamps, each measuring 210 by 148 mm (A5)
Cabinet of Curiosities 28 by OtGO 2022-2024 ink and acryl on original Stamps, 210 x 148 mm
Cabinet of Curiosities Memento Mori 3 by OtGO 2024-2025, ink and acryl on original Stamps, 210 x 148 mm (A5)
Cabinet of Curiosities Memento Mori 24 pictures with about 430 stamps
by OtGO 2024-2025, consists of 24 equal-sized single paintings,
ink and acryl on original Stamps, each measuring 210 by 148 mm (A5)
Cabinet of Curiosities Horses 22 by OtGO 2024-2025, ink and acryl on original Stamps, 210 x 148 mm (A5)
Cabinet of Curiosities Horses 24 pictures with about 430 stamps by
OtGO 2024-2025, consists of 24 equal-sized single paintings, ink
and acryl on original Stamps, each measuring 210 by 148 mm (A5)
Cabinet of Curiosities Apes 11 by OtGO 2024-2025, ink and acryl on original Stamps, 210 x 148 mm (A5)
Cabinet of Curiosities Apes 24 pictures with about 430 stamps by
OtGO 2024-2025, consists of 24 equal-sized single paintings, ink
and acryl on original Stamps, each measuring 210 by 148 mm (A5)
ABOUT THE ARTIST
OtGONBAYAR Ershuu was born in 1981 in Ulaanbaatar, Mongolia. His
artist name is OtGO. His talent was discovered and by the age of 15
years he had his own solo exhibitions. He studied traditional Mongolian
painting in Ulaanbaatar (1996 – 1998). After studying, he became a
painter and restorer on several research trips to historical sites in
Mongolia. In the Buddhist-Lamaist monasteries, he studied various
techniques and the iconography of miniature painting as well as their
spiritual background (1998 – 2004).
Beside his free artistic creations, his work includes about six hundred
„research miniaturen“. From 2007 – 2010 he studied at the Institute of
Art in Context of the University of the Arts Berlin, which he completed
with the Master of Arts. After studying, OtGO opened the first Mongolia
Cultural Center in Berlin (2010 – 2013) and founded Gallery ZURAG
Berlin (2010 – 2014) It is the first gallery founded and operated by a
Mongol outside of Mongolia. In 2015 OtGO was awarded the „GRAND PRIX“
of the International Biennial of Painting, Chisinau, Moldova. Since
2018, he has been working on a voluntary basis as "Chief Curator and
External Affairs of The National Art Gallery of Mongolia" parallel to
his artistic work. In 2019, he participated in the "Curating" project
of the Berlin Universität der Künste and received the university
certificate.
Artist OtGO deserves international success and admiration. More and
more collectors and enthusiasts are enjoying his paintings. It is also
remarkable that there are already many international scientific studies
on his work. Such an interest in the creations of an artist usually
only develops with older or already deceased artists.
He lives between Berlin and Ulaanbaatar.
OtGO exhibited his artworks in Japan, Sweden, France, the Netherlands,
India, the Czech Republic, Switzerland, Moldova, Poland, Romania,
Russia, United Arab Emirates, Singapore, Georgia, Germany and Mongolia.