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Artist Speaks As Voice For His Culture By THERESA JUVA September 15, 2006 A burning roof and a parade of galloping horses Ð some of Chaolun BaatarÕs work canÕt be placed on a gallery wall. As a performance artist, painter and sculptor, the Inner Mongolian native conveys his culture and ideas through innovative methods. ÒWhatÕs interesting is that he brings an old traditional art, and a rather obscure Asian country into the 21st century (and) into a modern form,Ó said Philip Gould, a retired art history professor who has taught at Columbia University. ÒHeÕs integrating two cultures.Ó Gould is referring to BaatarÕs usage of the traditional Mongolian house called a Òger,Ó which is marked by its distinctive open roof called a Òtoono.Ó Because it is an agrarian society, Gould said the open roof is like Òan eye on the skyÓ that allows Mongolians to still feel connected with the outside world. Baatar puts a twist on the structure when he sets the ÒtoonoÓ on fire in his performances as a celebration of Mongolian identity, Gould said. The professor of Asian art met Baatar at an art exhibition in Manhattan five years ago. He remembers first noticing the soft and swift brush strokes in his painting, an indication of heÕs integrating two cultures influence. Once he began talking to Baatar, who works out of a studio in Long Island City, he realized he is not only Òan artist at heart,Ó but also Òpractically a one-man publicist for his country.Ó He seeks to bring an agricultural country into the contemporary world of art through the dynamic presentation of a magnified 15-foot ÒtoonoÓ and the movement of animals. Gould said his attempt to combine worlds makes him unique among Asian artists. An integration of cultures works well in Queens, a borough that is always experiencing the convergence of people and places. BaatarÕs work resonates with people in Queens, which is why it will be featured in Queensborough Community CollegeÕs art gallery next year. The director of the gallery, Faustino Quintanilla, said BaatarÕs 14-foot sculpture Ð two interlocking circles modeled after the ÒtoonoÓ Ð is designed for people to walk through. ÒThe body has to be adapted to the space; you have to become part of the space,Ó Quintanilla said describing the sculptureÕs structure. It is symbolic, he said, for how immigrants come to the United States and learn to adjust to a new culture and become part of it. Just as people must adjust and morph their bodies to fit into the sculpture, immigrants are doing the same. ÒIt has big symbolism and especially in a community college,Ó Quintanilla said. ÒWhat better community than Queens? Here we are unified, but each of us has a tradition that enriches us.Ó Both professors agree that BaatarÕs vision has something special to offer Queens. He has taken the open roof of the traditional Mongolian home and used it as an entryway into the rest of the world. By letting the world in and tradition out, both are continuously transformed. 
The Rainbow recall my Water Toono [the Artist on the Beach of Atlantic 1999] An Installations Toono's Image on the Water 10 x 10 KM This Project Designed by the Artist 1999 & Collection by the Artist New York |
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 The Rainbow recall my Skylight - Toono, Oil & Acrylic on canvas 120" x 60". 2001 The Fine Art of Chang Liu Museum Collewction, 2005. Taipe, Tawan TOP |
