Starting Tuesday July 6th 9.30 - 10.30pm
http://www.postautonomy.co.uk
dged03@hotmail.com
Organised by David Goldenberg and Eleana Louka,
A series of 9 X one hour programmes going out each Tuesday evening between 9.30 - 10.30 pm from 6th July until 31st August
Resonance104.4FM
http://resonancefm.com
We are organising a series of projects that look at the notion of Post Autonomy and related issues, which are planned not only to raise the profile of Post Autonomy, but to collect together the plurality of thinking and practices building on the initial formulation of Post Autonomy, so that we can understand what is meant by Post Autonomy today.
The space of the radio mirrors an image of the chat room or waiting room that we can use to visualise entry into the space of Post Autonomy, where language and speech constitutes the core material for inhabiting and opening up that space.
Outline
We want to bring together practitioners who are central to developing Post Autonomy, along with related issues Participatory Practices, Colonisation, Globalisation, possibilities of change, understanding the make up and attributes of contemporary art/Euro centric tradition of art.
By shaping general information about PA to an audience unfamiliar with PA we are given an opportunity to start at the very beginning of the formation of PA, so that we can test out and justify the initial claims made for PA, for instance How do we understand PA today? How is the term PA being used today? Is there such a thing as PA? How useful is it to revisit the concept of Autonomy in order to understand the attributes and condition of contemporary art itself? What concept or notion comes after Autonomy? How do we think the End or the beyond of Autonomy?
Program 1
Tuesday 6th July 9.30-10.30pm
Introduction to the series of programmes looking at Post Autonomy today.
A Survey of the literature on Post Autonomy
Round table debate on the question - "How accurate & useful is the term "Autonomy" in embodying a Euro- centric tradition of art?"
Program 2
Tuesday 13th July
Interview between David Goldenberg and Daniel Marx
Program 3
Tuesday 20th July - 9.30 -10.30pm
Interview with Michael Lingner 1
Detailed texts and works by Michael Lingner along with the authors and artists discussed in the interview can be found on Michael Lingners website http://www.ask23.de
Pt 1
Introduction
Exhibition by Michael Lingner
2 works by Franz Erhard Walther
Pt 2
Luhmann
Program 4
Tuesday 27th July, 9.30-10.30 pm
The dialectics of Post Autonomy
Interview with Michael Lingner 2
Pt 1
Research leading to Post Autonomy
Clegg & Guttman's Open air library reconstructed
Pt 2
Formation of Post Autonomy
Lingner talks about Heidegger, Schillers concept of He-autonomy and Derrida's notion of Application before outlining his current understanding of Post Autonomy that goes beyond the art work and artist, that is completely immaterial, that finds its out come in the mind of the participant, whether in terms of the field of Culture or Politics.
Lingner finally begins to articulate the full radicality of the concept of Post Autonomy which many existing interpretations have sought to cover up or are to frightened to follow, and shows quite categorically how wrong nearly all interpretations are.
Lingners attempt to recover actual Autonomy via Schillers scheme of He-autonomy, that has its source in Spinoza, which moves us away from representations of Autonomy towards actual Autonomy. However we need to pose the non friviloce question What does actual Autonomy mean in this context if Autonomy doesnt actually exist in life and art?
A discussion of key terms raised by the interview
Between Raimi, David and Stephen Wright
About Stephen Wright
Stephen Wright is an art critic, programme director at the Collège international de philosophie (Paris), and professor of philosophy at the École Supérieure des Beaux Arts de Toulon. In April 2004, he curated “The Future of the Reciprocal Readymade” (Apexart, New York) and is currently working on “In Absentia” (Passerelle, Brest), as part of a series of exhibitions examining art practices with low coefficients of artistic visibility, which raise the prospect of art without artworks, authorship or spectatorship. He lives in Paris, and is PARACHUTE’s correspondent in France.
Program 5
Culture State 1
A discussion with Maja Ciric
View of Maja Ciric at the Mobile Studios
Mobile Studios
A different ge(nea)ology
The Belgrade stop of the mobile studios was conceived as an experiment in the public space whose main goal was to trace a different ge(nea)ology of the contemporary Serbian artistic production. The curatorial concept followed three axes: 1. Instead of producing representations, the content of the studio was to generate the experience 2. Instead of being addressed to the viewer, the project’s aim was to involve the audience as the participants 3. Instead of being result of the ideological interpellation, the studios were the index of pure creativity. Starting with the new media installation on the first day and ending with the interactive models of the monuments that never got the chance to be produced, due to the complicated political situation in the 90’s, the mobile studios were a unique intervention in the public space. Its uniqueness consisted in the particular twist that was inherent to most of the projects involved. The talk studio acted as a stage for the creative forms of dialogue such as the remember project, skype confessions and the auction in the illegal pastry shop. In one sentence, the project was based on the dialogue aesthetic that challenges the ontological constraints of the conventional object based art!
http://www.mobile-studios.org/
http://www.publicartlab.org/
http://www.comitevanroosendaal.eu/index.php?/articles/institutional-attitudes/
Program 6
Culture States 2
10th August
9:30 - 10:30pm
The Working room
PostAutonomy today 6
"What is the relation between political and cultural entities in Europe today?
The program will consist of 2 interviews - The first with the Paris based group Societe Realiste about a group of projects titled "Culture States", plus their current show in Bucharest. The second interview is with members of Chto Delat, Oxana Timofeeva & others from Moscow.
Plus Emily Candela and other guests who will be invited to discuss issues raised during the interviews.
Chto Delat & Oxana Timofeeva
http://www.chtodelat.org
http://www.chtodelat.org/images/pdfs/Chtodelat_09.pdf
Olga Egorova/Tsaplya (artist, Petersburg), Artiom Magun (philosopher,
Petersburg), Nikolai Oleinikov (artist, Moscow), Natalia Pershina/Glucklya
(artist, Petersburg), Alexei Penzin (philosopher, Moscow), David Riff (art
critic, Moscow), Alexander Skidan (poet, critic, Petersburg), Kirill
Shuvalov (artist, Petersburg), Oxana Timofeeva (philosopher, Moscow), and
Dmitry Vilensky (artist, Petersburg).
Since then, Chto delat has been publishing an English-Russian newspaper on issues central to engaged culture, with a special focus on the relationship between a repoliticization of Russian intellectual culture and its broader international context. These newspapers are usually produced in the context of collective initiatives such as art projects or conferences.
Oxana Timofeeva
Philosopher, currently researcher at the Jan van Eyck Academy in Maastricht, The Nederlands.
Oxana Timofeeva
The Jan van Eyck Academie is hosting Living Politically: A 48-Hour Communal Life Seminar. The Communal Life Seminar is an initiative of the Chto Delat collective and the Vpered Socialist Movement (Russia) as a response to the acute need to establish alternate forms of collectivity. The fundamental principle of this seminar is that its participants constitute a temporary community for the duration of the event. By combining research, creative work and daily living, they are transformed into a commune.
Introduction to Culture States
This program follows on from Lingner's suggestion that Post Autonomy as an adoption of Schillers scheme of " He-Autonomy" & the "Culture State"
The image of He-autonomy was adopted as a scheme for the last Documenta, and was seen to contribute to its apparent failure and conservatism. I find it suspect that one staging of the concept offers an adequate evaluation of the appropriation or not of the scheme within contemporary art. However if we understand that the idea originated of a fully bodily notion of autonomy, in Spinoza, as opposed to a notion of Autonomy determined via instrumental rationality, we see this scheme fully realised in Nitezsche and Deleuze reformulation of thinking and art, then I think we arrive at a completely different understanding of the image, and so as key to a notion of a future philosophy and art.
Lingner made a number of key claims for Post Autonomy
1] Current trends in art has led to art losing its purpose, Post Autonomy aims to rediscover the purpose of art
2] The dematerialsed form of art, where art does not need an object, place, author, instead its role is in shaping Politics and Culture
How is it possible to understand this image today in relationship to contemporary art? Along with the problematic and conservative role of art in the service of the State and its consolidation of the identity of the Nation State?
If we open out this question further then we are looking at the use of art as part of the technologies to claim space and territory, in other words its use within Colonisation and Globalisation.
The current use of politics in art is not only conservative but also generic and tokenistic. It is almost possible to say that the current interests in political art is a continuing symptom of Post modernisms reuse of art in all its forms. The test of actual political and activist part ractices lies in the evidence of its results! Again it is a non frivilous, question but "How is it possible to address this complexity and problematics through the vehical of art?"
Installation view of Culture States by Societe Realiste at the 11th Istanbul Biennial
http://www.societerealiste.net
Société Réaliste is a Parisian cooperative created by Ferenc Gróf and Jean-Baptiste Naudy in June 2004. It works with political design, experimental economy, territorial ergonomy and social engineering consulting. Polytechnic, it develops its production schemes through exhibitions, publications and conferences. Société Réaliste is represented by Galerie Martine Aboucaya (Paris) and Kisterem (Budapest).
MA: Culture States - Exposition des Arts et Techniques appliquées à la vie moderne
The "Culture States - Exposition des arts et techniques appliquées à la vie moderne" project takes its subtitle from the historical "Exposition internationale des arts et techniques appliquées à la vie moderne", held in 1937 in Paris. This fair has been one of the most spectacular example of the relation between Culture and Nation, from the confrontation between Nazi and Soviet pavilions to the display of imperialist cultural conceptions of France or UK through their colonial pavilions. Seven decades after this key-moment, what is the relation between political and cultural entities in nowadays Europe?
In its ability to inquire about the politics of the space, Ministère de l'Architecture (MA) has commissioned a research and production study in the field of territorial ergonomy. This study focuses on the multi-layered principle of spatial re-qualification, that continues to affect any cultural zone. Intending to curate a world exhibition on the model of the 1937's one, "Culture States" is dedicated to disappeared states of the European peninsula, and examines the state as a constructed level of space representation, an thus as a deconstructable one.
Scale of control in itself, the state obstructs territorial observation and restrict cultural patterns. "Culture States" designs analyse devices aspiring to disclose the nocuous dependence of cultural constructions on the logic of states. This logic vitally calculates the extension, the maintenance and the lengthening of the state's exercice of inclusive power. The instrumentalisation of cultural forms is plainly part of this exercice. This instrumentalisation is the core theme of "Culture States".
Programs in September after the summer break
*The following info is intended as a guide line only, please check nearer the time of the broadcast for correct information.
Live recording for Program 7
Live event at the Edgeware Road project space
1st session 3 - 6pm followed by a 2nd session between 7 - 9pm
Free Cinema School
20 July – 20 September
The Centre for Possible Studies
14 Porchester Place, London W2 2BS,
Artists collectives CAMP and no.w.here – working with actors Khalid Abdalla and Cressida Trew – are in residence at the Serpentine Gallery’s Centre for Possible Studies (CfPS). Part of the Serpentine’s Edgware Road Project, the CfPS hosts collaborations between artists, local residents, shopkeepers, students and community activists.
This summer, the CfPS is transformed into a Free Cinema School, a space for collaborative film production, annotation, skills-sharing, workshops, and archiving. The Free Cinema School picks up the spirit of the original 1950s Free Cinema movement that called for a ‘belief in freedom, in the importance of people and in the significance of the everyday’.
Revisiting the Free Cinema concept in the here and now, the school is open to anyone, and especially those with a relationship to the Edgware Road. Together, local people and artists ask questions about their experiences of regulation and openness in the neighbourhood, asking what can be ‘free’ in the free cinema of today?
Their collaborative production will be presented at the Serpentine Pavilion on 11 September.
Program 7
Tuesday 7th September
9:30-10:30
The Working room
Postautonomy today 7
Recording of a debate at the Centre for possible studies, the Serpentine Edgeware Rd project, and the Free cinema studies group + audience and guests.
This will cover the new interest in Autonomy in contemporary art, Participatory practices, issues of Democaracy, the representation of politics in art, and finally in what form is actual art and questions about art taking place?
http://www.no-w-here.org.uk
Free Cinema School
The Centre for Possible Studies
14 Porchester Place
London W2
From July 20th to September 20th no.w.here and Khalid Abdalla take up residence at the Serpentine Gallery's Centre for Possible Studies. Taking the form of a Free Cinema School, the centre for possible studies will be transformed into a space for 'thinking, workshops, an archive of process and a site of film production local to Edgware Road'. The Free Cinema School picks up the spirit of the original Free Cinema movement that called for "a belief in freedom, in the importance of people and in the significance of the everyday". This movement desired films to be "free in the sense that their statements are entirely personal. Though their moods and subjects differ, the concern of each of them is with some aspect of life as it is lived in this country today ... these films are offered as a challenge to orthodoxy."
In this contemporary manifestation of the Free Cinema concept this pilot project space will move between rigour and experimentation with sights set on producing a work with local residents [and by local residents] to be presented at the Serpentine Pavilion on September 11th. This will involve a series of film experiments, structured film workshops and responsiveness to local sites and developments. But as this project is inclusive and collaborative, you are welcome to contact us to see how you might engage in its development. A full schedule will be published here in the next few weeks as it develops.
Program 8
Presentation of edited interview between David Goldenberg, Eleana Louka no.w.here and the centre for possible studies.
Program 9
Mongolian art
1st November
8 - 9pm
The Working room
Postautonomy today 9
A live discussion between David Goldenberg, Eleana Louka and Dr. Uranchimeg Tsultem
We will cover a broad range of issues - The form art takes in Mongolia today. General developments leading to this moment - Mongolian art under the USSR, the influence of Buddism etc. This will be followed by a discussion of Dr Tsultem's tour of contemporary Mongolian art which has so far toured to Hongkong, Beijing and to the West Coast of the USA. In the final part of the discussion we will look at a number of issues raised by this years 1st Land art Biennial in Mongolia.
Lingner finally begins to articulate the full radicality of the concept of Post Autonomy which many existing interpretations have sought to cover up or are to frightened to follow, and shows quite categorically how wrong nearly all interpretations are.
Lingners attempt to recover actual Autonomy via Schillers scheme of He-autonomy, that has its source in Spinoza, which moves us away from representations of Autonomy towards actual Autonomy. However we need to pose the non friviloce question What does actual Autonomy mean in this context if Autonomy doesnt actually exist in life and art?
A discussion of key terms raised by the interview
Between Raimi, David and Stephen Wright
About Stephen Wright
Stephen Wright is an art critic, programme director at the Collège international de philosophie (Paris), and professor of philosophy at the École Supérieure des Beaux Arts de Toulon. In April 2004, he curated “The Future of the Reciprocal Readymade” (Apexart, New York) and is currently working on “In Absentia” (Passerelle, Brest), as part of a series of exhibitions examining art practices with low coefficients of artistic visibility, which raise the prospect of art without artworks, authorship or spectatorship. He lives in Paris, and is PARACHUTE’s correspondent in France.
Program 5
Culture State 1
A discussion with Maja Ciric
View of Maja Ciric at the Mobile Studios
Mobile Studios
A different ge(nea)ology
The Belgrade stop of the mobile studios was conceived as an experiment in the public space whose main goal was to trace a different ge(nea)ology of the contemporary Serbian artistic production. The curatorial concept followed three axes: 1. Instead of producing representations, the content of the studio was to generate the experience 2. Instead of being addressed to the viewer, the project’s aim was to involve the audience as the participants 3. Instead of being result of the ideological interpellation, the studios were the index of pure creativity. Starting with the new media installation on the first day and ending with the interactive models of the monuments that never got the chance to be produced, due to the complicated political situation in the 90’s, the mobile studios were a unique intervention in the public space. Its uniqueness consisted in the particular twist that was inherent to most of the projects involved. The talk studio acted as a stage for the creative forms of dialogue such as the remember project, skype confessions and the auction in the illegal pastry shop. In one sentence, the project was based on the dialogue aesthetic that challenges the ontological constraints of the conventional object based art!
http://www.mobile-studios.org/
http://www.publicartlab.org/
http://www.comitevanroosendaal.eu/index.php?/articles/institutional-attitudes/
Program 6
Culture States 2
10th August
9:30 - 10:30pm
The Working room
PostAutonomy today 6
"What is the relation between political and cultural entities in Europe today?
The program will consist of 2 interviews - The first with the Paris based group Societe Realiste about a group of projects titled "Culture States", plus their current show in Bucharest. The second interview is with members of Chto Delat, Oxana Timofeeva & others from Moscow.
Plus Emily Candela and other guests who will be invited to discuss issues raised during the interviews.
Chto Delat & Oxana Timofeeva
http://www.chtodelat.org
http://www.chtodelat.org/images/pdfs/Chtodelat_09.pdf
Chto delat?
The platform Chto delat/What is to be done? was founded with the goal of
merging political theory, art, and activism in early 2003 in Petersburg by a
workgroup of artists, critics, philosophers, and writers from Petersburg,
Moscow, and Nizhny Novgorod.
merging political theory, art, and activism in early 2003 in Petersburg by a
workgroup of artists, critics, philosophers, and writers from Petersburg,
Moscow, and Nizhny Novgorod.
It originally consists of following members:
Olga Egorova/Tsaplya (artist, Petersburg), Artiom Magun (philosopher,
Petersburg), Nikolai Oleinikov (artist, Moscow), Natalia Pershina/Glucklya
(artist, Petersburg), Alexei Penzin (philosopher, Moscow), David Riff (art
critic, Moscow), Alexander Skidan (poet, critic, Petersburg), Kirill
Shuvalov (artist, Petersburg), Oxana Timofeeva (philosopher, Moscow), and
Dmitry Vilensky (artist, Petersburg).
Since then, Chto delat has been publishing an English-Russian newspaper on issues central to engaged culture, with a special focus on the relationship between a repoliticization of Russian intellectual culture and its broader international context. These newspapers are usually produced in the context of collective initiatives such as art projects or conferences.
Oxana Timofeeva
Philosopher, currently researcher at the Jan van Eyck Academy in Maastricht, The Nederlands.
Oxana Timofeeva
The Jan van Eyck Academie is hosting Living Politically: A 48-Hour Communal Life Seminar. The Communal Life Seminar is an initiative of the Chto Delat collective and the Vpered Socialist Movement (Russia) as a response to the acute need to establish alternate forms of collectivity. The fundamental principle of this seminar is that its participants constitute a temporary community for the duration of the event. By combining research, creative work and daily living, they are transformed into a commune.
Introduction to Culture States
This program follows on from Lingner's suggestion that Post Autonomy as an adoption of Schillers scheme of " He-Autonomy" & the "Culture State"
The image of He-autonomy was adopted as a scheme for the last Documenta, and was seen to contribute to its apparent failure and conservatism. I find it suspect that one staging of the concept offers an adequate evaluation of the appropriation or not of the scheme within contemporary art. However if we understand that the idea originated of a fully bodily notion of autonomy, in Spinoza, as opposed to a notion of Autonomy determined via instrumental rationality, we see this scheme fully realised in Nitezsche and Deleuze reformulation of thinking and art, then I think we arrive at a completely different understanding of the image, and so as key to a notion of a future philosophy and art.
Lingner made a number of key claims for Post Autonomy
1] Current trends in art has led to art losing its purpose, Post Autonomy aims to rediscover the purpose of art
2] The dematerialsed form of art, where art does not need an object, place, author, instead its role is in shaping Politics and Culture
How is it possible to understand this image today in relationship to contemporary art? Along with the problematic and conservative role of art in the service of the State and its consolidation of the identity of the Nation State?
If we open out this question further then we are looking at the use of art as part of the technologies to claim space and territory, in other words its use within Colonisation and Globalisation.
The current use of politics in art is not only conservative but also generic and tokenistic. It is almost possible to say that the current interests in political art is a continuing symptom of Post modernisms reuse of art in all its forms. The test of actual political and activist part ractices lies in the evidence of its results! Again it is a non frivilous, question but "How is it possible to address this complexity and problematics through the vehical of art?"
Installation view of Culture States by Societe Realiste at the 11th Istanbul Biennial
http://www.societerealiste.net
Société Réaliste is a Parisian cooperative created by Ferenc Gróf and Jean-Baptiste Naudy in June 2004. It works with political design, experimental economy, territorial ergonomy and social engineering consulting. Polytechnic, it develops its production schemes through exhibitions, publications and conferences. Société Réaliste is represented by Galerie Martine Aboucaya (Paris) and Kisterem (Budapest).
MA: Culture States - Exposition des Arts et Techniques appliquées à la vie moderne
The "Culture States - Exposition des arts et techniques appliquées à la vie moderne" project takes its subtitle from the historical "Exposition internationale des arts et techniques appliquées à la vie moderne", held in 1937 in Paris. This fair has been one of the most spectacular example of the relation between Culture and Nation, from the confrontation between Nazi and Soviet pavilions to the display of imperialist cultural conceptions of France or UK through their colonial pavilions. Seven decades after this key-moment, what is the relation between political and cultural entities in nowadays Europe?
In its ability to inquire about the politics of the space, Ministère de l'Architecture (MA) has commissioned a research and production study in the field of territorial ergonomy. This study focuses on the multi-layered principle of spatial re-qualification, that continues to affect any cultural zone. Intending to curate a world exhibition on the model of the 1937's one, "Culture States" is dedicated to disappeared states of the European peninsula, and examines the state as a constructed level of space representation, an thus as a deconstructable one.
Scale of control in itself, the state obstructs territorial observation and restrict cultural patterns. "Culture States" designs analyse devices aspiring to disclose the nocuous dependence of cultural constructions on the logic of states. This logic vitally calculates the extension, the maintenance and the lengthening of the state's exercice of inclusive power. The instrumentalisation of cultural forms is plainly part of this exercice. This instrumentalisation is the core theme of "Culture States".
Programs in September after the summer break
*The following info is intended as a guide line only, please check nearer the time of the broadcast for correct information.
Live recording for Program 7
Live event at the Edgeware Road project space
1st session 3 - 6pm followed by a 2nd session between 7 - 9pm
Edgware Road Project: Events Autumn 2009
Local and international artists,residents, shop-owners and visitors are working in collaboration in the distinct London neighbourhood of Edgware Road as part of this major Serpentine Gallery Project. The Centre for Possible Studies on Porchester Place is the project’s base.Free Cinema School
20 July – 20 September
The Centre for Possible Studies
14 Porchester Place, London W2 2BS,
Artists collectives CAMP and no.w.here – working with actors Khalid Abdalla and Cressida Trew – are in residence at the Serpentine Gallery’s Centre for Possible Studies (CfPS). Part of the Serpentine’s Edgware Road Project, the CfPS hosts collaborations between artists, local residents, shopkeepers, students and community activists.
This summer, the CfPS is transformed into a Free Cinema School, a space for collaborative film production, annotation, skills-sharing, workshops, and archiving. The Free Cinema School picks up the spirit of the original 1950s Free Cinema movement that called for a ‘belief in freedom, in the importance of people and in the significance of the everyday’.
Revisiting the Free Cinema concept in the here and now, the school is open to anyone, and especially those with a relationship to the Edgware Road. Together, local people and artists ask questions about their experiences of regulation and openness in the neighbourhood, asking what can be ‘free’ in the free cinema of today?
Their collaborative production will be presented at the Serpentine Pavilion on 11 September.
Program 7
Tuesday 7th September
9:30-10:30
The Working room
Postautonomy today 7
Recording of a debate at the Centre for possible studies, the Serpentine Edgeware Rd project, and the Free cinema studies group + audience and guests.
This will cover the new interest in Autonomy in contemporary art, Participatory practices, issues of Democaracy, the representation of politics in art, and finally in what form is actual art and questions about art taking place?
http://www.no-w-here.org.uk
Free Cinema School
The Centre for Possible Studies
14 Porchester Place
London W2
From July 20th to September 20th no.w.here and Khalid Abdalla take up residence at the Serpentine Gallery's Centre for Possible Studies. Taking the form of a Free Cinema School, the centre for possible studies will be transformed into a space for 'thinking, workshops, an archive of process and a site of film production local to Edgware Road'. The Free Cinema School picks up the spirit of the original Free Cinema movement that called for "a belief in freedom, in the importance of people and in the significance of the everyday". This movement desired films to be "free in the sense that their statements are entirely personal. Though their moods and subjects differ, the concern of each of them is with some aspect of life as it is lived in this country today ... these films are offered as a challenge to orthodoxy."
In this contemporary manifestation of the Free Cinema concept this pilot project space will move between rigour and experimentation with sights set on producing a work with local residents [and by local residents] to be presented at the Serpentine Pavilion on September 11th. This will involve a series of film experiments, structured film workshops and responsiveness to local sites and developments. But as this project is inclusive and collaborative, you are welcome to contact us to see how you might engage in its development. A full schedule will be published here in the next few weeks as it develops.
Program 8
Presentation of edited interview between David Goldenberg, Eleana Louka no.w.here and the centre for possible studies.
Program 9
Mongolian art
1st November
8 - 9pm
The Working room
Postautonomy today 9
A live discussion between David Goldenberg, Eleana Louka and Dr. Uranchimeg Tsultem
We will cover a broad range of issues - The form art takes in Mongolia today. General developments leading to this moment - Mongolian art under the USSR, the influence of Buddism etc. This will be followed by a discussion of Dr Tsultem's tour of contemporary Mongolian art which has so far toured to Hongkong, Beijing and to the West Coast of the USA. In the final part of the discussion we will look at a number of issues raised by this years 1st Land art Biennial in Mongolia.
