UNEN ENKH *1958
Хаянхярваагийн Үнэн-Энх
Unen Enkh was born
and raised in Mongolia. As the artist recollects, the foundation of his
thinking through art was established in his early childhood. Both his
parents had a critical impact in his development as they nurtured his
taste for imaginative ideas and encouraged courageous free thinking,
unusual during socialism. Showing a serious interest in art and
drawing, in 1974 he went to the only public, state-run Institute of
Fine Art. Unen Enkh studied graphic art. As part of an exchange between
socialist countries, in 1981 Unen Enkh went to Eastern Europe to attend
art colleges, first in Prague and then in Budapest, where he graduated
with two degrees, a bachelor’s and master’s in art. His success in
graphic art was quite obvious as several works received awards in 1985
and 1987 at the Graphic Biennale in Miskolc, Hungary. Although he
continued to work in graphic art, his interest in other media and
experimentation began in Budapest in the mid 1980s. Now he is based in
Freiburg im Breisgau, Germany.
Official Website: www.enkh.de
PHOTOGRAPHY: Unen Enkh, Bernd Schumacher and Wolfgang Wick
Unen Enkh | Biennale di Venezia, 2015. Mongolia
Pavilion, Palazzo Mora, Venezia, Italy
Photo by Wolfgang Wick
Unen Enkh’s
work concept | In terms of his selection of essentially
archaic materials (Mongolian felt with different degrees of hardness
resulting from the addition of synthetic resin, heavy-duty iron wire,
occasionally with horsehair and hemp cords) Unen Enkh is a sculptor in
the classic sense. Creating incredible diversity, however, he acts in
the realm of avant-garde art.
Unen Enkh | Museum und Galerie im Prediger, 2015.
Schwäbisch Gmünd, Germany
Photo by Unen Enkh
Classic Sculpture, Object Art, Installation?
Unen Enkh’s work concept
| by Franz Armin Morat
Among all human artistic modes of expression, sculpture is by far the
oldest. As recently as May this year, what is probably the oldest
artwork made by human hand, namely a 40,000 year old ivory
representation of the female body, was discovered west of Ulm in the
eastern part of the Swabian Alb hills. Portrayals of animals of a
similar age were found in the same area a few years ago. What is
astonishing, however, is not the age but rather the fact that during
almost the entire period, sculptures were restricted to representations
of animals and people only. It was not until the early 20th century
that the sculptors expanded their repertoire of motifs at a virtually
explosive rate.
In terms of his
selection of virtually archaic materials (Mongolian felt with different
degrees of hardness resulting from the addition of synthetic resin,
heavy iron wire, occasionally with horsehair and hemp cords) Unen Enkh
is a sculptor in the classic sense. And he is most certainly an
avant-garde artist in the way he brings humor and irony to bear when,
for example, he makes use of close meshed steel wire to deny access to
a building that resembles a yurt; or when he seems to suspend the law
of gravity by making the attachment of a wire sculpture »invisible«.
the effect of his three-dimensional »drawings in space« made of iron
wire is as astounding as it is impressive — the result is an
alternation between genres. Neither does the long obsolete
differentiation of the abstract from the representational help us
classify Unen Enkh’s work. For he creates both representational and
abstract sculptures and, most importantly, every »intermediate form«.
What about the question of
installation art?
Positioning a large sculpture in a space is inevitably already an
installation per se. In a narrower sense of the term however, I do not
consider its use in reference to Unen Enkh’s sculptures appropriate,
because their form itself is not affected when presented in a different
way in different spaces. Not least Unen Enkh’s own photographs of his
exhibition, abundantly documented in this catalog, show just how
blurred the boundaries are.
In conclusion, suffice it to say that all of Unen Enkh’s sculptures are
individual pieces of work in the classic sense of the term, which does
not at all impair his enormous imaginative diversity. In this respect,
as a traditional sculptor Unen Enkh acts in the realm of avant-garde
art by creating incredible diversity.
Link: www.enkh.de/tablet/works.html
Holon Unen Enkh 2015 Video by
Bernd Schumacher:
Link: https://vimeo.com/144123720
Holon Unen
Enkh 2015 from Bernd Schumacher on Vimeo.
Алдарт “Венецийн Биэналэ”-д анх удаа Монголын урлаг
La Biennale di Venezia - энэ бол дэлхийн зураач урчуудын хувьд мөрөөдөл
нь болсон наадам билээ. Англиар заримдаа Venice Biennial хэмээн
орчуулан хэрэглэдэг ч дэлхийн ихэнх улс түмэн итали дуудлагаар нь “Ла
Биеналэ ди Венециа” хэмээнэ...
Ц.Уранчимэг: Хоёр уран бүтээлч маань
Венециа Биеналд зориулж цоо шинэ уран бүтээл хийсэн байгаа. Манай
павильон Европын Соёлын Төв бүхий Палаццо Мора гэдэг байранд гарна.
Гурван өрөө байгаа. их өвөрмөц хоёр уран бүтээлч байгаа. Үнэн-Энх гэхэд
манай ДУДС-т сурч байгаад наяад оны үед Унгарыn Будапештийн Урлагийн их
сургуульд бакалавр, магистраа хийгээд, тэндээсээ Герман руу гарчихсан,
өөрөөр хэлбэл манай урлагийнхнаас анх удаа тэр социализмын боогдмол
үеэс гадагшаа гарсан уран бүтээлч. Дандаа эсгий, адууны хялгас зэрэг
нүүдэлчдийн эд материалаар баримлaa хийдэг...
http://baabar.mn/article/6996
“Урлагийн Олимп” гэгддэг Венецийн Биенналь нь (La Biennale di Venezia)
бүхэл бүтэн нэг зууны турш дэлхийн хамгийн нэр хүндтэй урлаг, соёлын
арга хэмжээ байсаар ирсэн.
Уран бүтээлч Х.Үнэн-Энхийн бүтээл. Тэрээр бүтээлээ адууны дэл, сүүл болон эсгийгээр урлан хийдэг байна...
https://www.trends.mn/n/3196
Эргэн төрөлт, тэнцвэр, нүүдэл
Түүний бүтээлдээ өргөн ашигладаг эсгий, морины сүүлний үнэр, гарт
баригдаж, нүдэнд харагдах байдал нь төрсөн гэрийг нь бүрнээ бэлгэддэг.
Даяаршсан энэ ертөнцөд бид хүссэн газраа амьдарч, суурьших, тэндээсээ
нүүх боломжтой болсон. Тэгэхээр энэ тохиолдолд хүний жинхэнэ гэр орон,
зүрх сэтгэл нь харьяалагдаж буй газар хаана байдаг тухай асуудал урган
гарч ирнэ. Тэр дундаа Хүйтэн дайны дараах Монгол улсын хүрээнд
Х.Үнэн-Энх ганцаараа биш. Түрүүн дурдсанчлан эсгий сэлт нь түүний
төрсөн гэрийг илэрхийлдэг бол бүтээлийн нь салшгүй хэсгийн нэг төмөр
утас зэрэг материал нь одоогийн нь гэр Герман улсыг төлөөлнө. Хэдийгээр
түүний бүтээлдээ ашиглаж буй материалууд хоёр өөр соёл, үндсийг ийн
бэлгэдэж буй ч бүтээл нь нэг цул агуулгатай, бүхэллэг шинжтэй
байдгаараа эсрэгцсэн хоёр соёлын тэнцвэрийг хадгалдаг нь хамгийн чухал
юм” хэмээн павильоны куратор Ц.Уранчимэг тайлбарлаж байна...
https://news.mn/r/215133/
Unen Enkh im Galeriehaus Nord Interview
6. Oktober 2016 by Kunstnürnberg Redaktion in Interviews‚ Zeitgenössische Kunst
Unen Enkh zeigt seine raumbezogenen Objekte im Galeriehaus Nord in Nürnberg.
Die Ausstellung Skulpturen und Objekte läuft vom 29. September bis 6. November 2016.
Unen Enkh, gebürtig 1958 in der Mongolei, studierte von 1981 bis 1988
an der Hochschule für Angewandte und Bildende Kunst in Prag und an der
Hochschule für Bildende Kunst in Budapest, wo er auch das Meisterjahr
der Kunstgrafik absolvierte. Seit 1988 lebt und arbeitet Unen Enkh in
Freiburg im Breisgau.
Unen Enkh war 2015 zur Biennale in Venedig eingeladen und stellte im Mongolischen Pavillion aus...
https://kunstnuernberg.de/unen-enkh-interview/
Official Website: www.enkh.de
