Mugi’s Self-Portrait and Maternal Bodies in Post-Socialist Mongolia
Bibliographic Data
| ID | 12225329 |
|---|---|
| Authors | Uranchimeg Tsultemin (corresponding author) |
| Year | 2018 |
| Volume | 33 |
| Issue | 1 |
| Pages | 79-104 |
| Publication date | 2018-12-03 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Third Text (JOURNAL) |
| Journal identifiers | ISSN: 0952-8822 • E-ISSN: 1475-5297 |
| Publisher | Routledge (PUBLISHER • GB) |
| DOI | 10.1080/09528822.2018.1546458 |
| OpenAlex | W2902129003 |
| Language | EN |
| Citations received | 1 |
This article discusses the work of contemporary Mongolian artist Jalkhaajavin Munkhtsetseg (b 1967), commonly known as Mugi. Focusing on her mixed-media series Silence, it explores her subversive approach to the female body as the site of a private exploration, previously discouraged by Mongolia’s socialist regime, and discusses the ways Mugi’s art responds to the questions of feminism, initially a Western concept, and its applicability to Asian women artists (Joan Kee 2007, 2009). The article argues that while Mugi’s ideas were shaped by the realities of a post-socialist atmosphere of anxiety (Manduhai Buyandelger 2007, 2013) and search for identity (Christopher Kaplonski 2004), yet her questions and visual forms relate to global issues of women dealing with trauma – as also attested to by Louise Bourgeois’s psychic body (Rosemary Betterton 2009) – reparation based on meaningful connections with nature, reviving of traditions and women’s positioning in society
Aesthetics · Art · Art history · Bourgeoisie · Feminism · Identity (music · Political science · Politics · Portrait · Psychic · Silence · Sociology · Balkans: History, Politics, Society · Gender Studies · Law · Philippine History and Culture · Soviet and Russian History
| Citations per year | 1 |
|---|---|
| Citation span | 2025 - 2025 (1) |
| Highly cited | No |