Artist and Researcher M.Batzorig opened his third solo exhibition, titled “Exit and Entry” on September 4, at B Contemporary Art Gallery. The exhibition will run through September 27, and is open to the public Tuesday to Sunday from 11:00 a.m. to 7:00 p.m., with the gallery closed on Mondays.
The exhibition brings together roughly 60 of the artist’s most recent works, spanning a striking range of mixed-media formats, including photography, prints, oil and acrylic painting, drawing, and collage. Rather than treating these as separate bodies of work, M.Batzorig weaves them together into a single visual conversation, allowing one medium to bleed into the next and inviting viewers to move fluidly between them as they make their way through the gallery.
Through a distinctly surrealist visual language, the artist channels personal memory, private observation, and the emotional undercurrents of contemporary society. Recurring motifs of thresholds, doorways, and passages run throughout the exhibition, giving shape to its title. “Exit and Entry” frames each work as a kind of crossing point. Every piece becomes an exit from one state of mind and an entrance into another. In doing so, the exhibition invites viewers to reflect on the intersection between the artist’s inner world and the broader environment and era we all inhabit, treating the gallery itself as a space of transition rather than simple display.
The exhibition’s opening also marked the launch of M.Batzorig’s third book. The publication examines a defining period in the development of Mongolian visual art, from 1968 to 2020, tracing how new methods and ways of thinking took hold across the country’s creative scene. It focuses on 27 individual artists and three artistic communities identified as having played a central role in reshaping that trajectory.
Drawing on close analysis of these artists’ work, the book situates their approaches within the domestic and international influences that shaped them, tracing how Mongolian art thinking was renewed over the decades and gradually shifted toward the contemporary directions visible in Mongolian galleries today. For readers and gallery-goers alike, it offers useful context for the artistic lineage that “Exit and Entry” itself grows out of, positioning M.Batzorig’s own practice within a longer history of experimentation and change.
Together, the exhibition and the book present a dual offering from M.Batzorig: one a visual, deeply personal body of work, the other a scholarly record of the movement that helped make such work possible. Photos from the opening were taken by photographer D.Amaraa. Visitors interested in seeing “Exit and Entry” in person have through the end of September to do so.
