Longlati展讯 | Bingqing Dong 董冰清：番外

艺术家董冰清（Bingqing Dong，b. 1994）将于2025年11月11日起，于Longlati经纬艺术中心开展为期两周的实验性绘画表演项目“番外”（Extra Episode）（周二—周六，15:00 — 16:00）。该项目横跨影像、绘画与现场创作，多线并行，一同构成艺术家后续舞台与影像实践的前叙事实验。以艺术家处于进程中的大尺幅分镜绘画现场为核心，与其前传影像作品《不要和宝拉说话（Don’t Talk to Paula）》（2024年）互为观照。激烈而浪漫的视觉语言，将私密的绘画状态伸展至公众的行动场域。

Bingqing Dong, Don’t Talk to Paula, 2024, single-channel video, 8 min 41 sec. Courtesy of the artist 董冰清，《不要和宝拉说话》，2024年，单通道影像，8分41秒。图片致谢艺术家

《不要和宝拉说话》可被视为艺术家创作“行进”的第一部曲。冰清以自身经历为蓝本，化身为一位名为宝拉（Paula）的福瑞（Furry）角色，与一具数字生成的“人类形象”展开博弈。在这部前传的镜头中，人类的手指以机械般的敲击调动宝拉的动作，显化出主客体与结构性规训之间难以调和的复杂系统。控制的节奏暗藏权力的隐喻——身体被他者编程，欲望被数字调度，日常生活成为技术权力的副产物。

影像的最终演绎并非定稿的句点，它指向另一场正在发生中的图像。冰清的行动重新折返至绘画中，成为情绪与形象在画布表面上的残留。影像中，控制者与受制者之间的层级关系的反转，受压抑者对“理性”秩序的反向侵蚀，与未知的角色之间的身份调换，让艺术家的核心概念跃然于外。即没有纯粹的画布，也没有纯粹的身体，仅有二者交错间的“生死斗争”。这种双向的“溢出”不仅是绘画形式界限上的，更关乎于灵魂与画布摩擦之间的强心理性。

在艺术家的对照中，“人类形象”似乎更具兽性，而宝拉呈现出一种近乎天然的纯真。造型细节上冰清似是刻意模糊了两者的界限——人类拥有与福瑞角色相似的白色长睫毛和尖锐的爪牙，仿佛是角色互相转化后的残存。体面的衬衫、美甲与睫毛构成了结构性规训下的象征性装饰，却并未真正指向“人性”的提升，而是指向“文明”背后被压抑的欲望与无常。

显然，人类形象与宝拉并非天然的对立物，而是艺术家内心“双重自我意识的斗争”。董冰清所呈现的，是一场关于自身与欲望对象之间的博弈。观众目之所及是艺术家的孤身创作，然而视线穿透微缩的六角窗，主宰与服从、反抗与纠结、纯真与被伪饰的情绪在她体内轮番上演。窗口中的影像悄然将这一心理过程前置，使创作现场化为具象的心理舞台，也将绘画的精神性推向更深的维度。

控制者轰然崩塌，画面从动荡的血色重归寂静的纯白，震颤之下并未带来永恒的宁静。影像的结尾定格了宝拉诡异而自由的动作，将这场角力推向无尽的循环，更进一步地指向艺术家对周而复始之生成的理解。正如艺术家所言，“番外”既是作品形式上的扩充，也是内心孤独渴望被回应的外化。她不热衷于铺陈结果，而是置身于灵魂被挤压出的过程。这种生成在话语系统之外展开，绘画的状态悬浮于艺术家的行动与痛苦的情感之间，将凝结于平面的形式语言外化。形象在诞生之初渗透在布面上的颜料与被反复覆盖的痕迹，共同构成一种毋需翻译的共振机制。

Bingqing Dong, Love, 2024, oil on canvas, 62.5 × 50 cm. Courtesy of the artist 董冰清，《爱》，2024年，布面油画，62.5 × 50厘米。图片致谢艺术家

Longlati is pleased to present Bingqing Dong (b. 1994)’s experimental live creation project Extra Episode, opening on 11 November 2025, running for two weeks (Tuesday–Saturday, 3 PM – 4 PM). Bridging video, painting, and live creation, the project unfolds through multiple narrative threads as a pre-narrative strategy for the artist’s forthcoming stage and moving-image practices. Centred on the artist’s in-progress large-scale storyboard paintings, the work is conceived in dialogue with her preceding video work Don’t Talk to Paula (2024). With an intense yet romantic visual language, Extra Episode transforms the private gesture of painting into a performative act shared with the public.

Don’t Talk to Paula can be regarded as the first chapter in the artist’s ongoing trajectory. Drawing upon her personal experiences, Dong embodies a furry character named Paula, who enters into a tense confrontation with a digitally rendered “human figure.” In her earlier video, the mechanical tapping of human fingers conducts Paula’s gestures, unveiling a fragile yet rigid web of relations between the subject and the object, autonomy and structural imperative. Beneath the measured rhythm of control runs an invisible current of power—where the body, scripted by the other, performs its own containment; where desire is coded through digital command, and the ordinary pulse of life drifts into the circuitry of technological rule.

The final rendition of video does not serve as a conclusive endpoint; rather, it gestures toward another image still in the process of becoming. By folding back into painting, Dong’s gestures leave behind traces where emotion thickens into pigment, and imagery trembles across the canvas. Within the video, the reversal of hierarchy between the dominant and the subjugated, the repressed subject’s counter-infiltration into the so-called “rational” order, and the shifting of identities between the unseen roles—all bring the artist’s core concerns to the surface. There exists neither a pure canvas nor a pure body, but only a Kampf um Leben und Tod—a struggle to the death—unfolding within their entanglement. This bidirectional “overflow” extends beyond the formal boundaries of painting, reaching instead toward a psychic intensity born from the friction between soul and canvas.

Through Dong’s framing, the “human figure” assumes a strangely animalistic presence, while Paula, the furry, emerges with an unexpected sense of innocence. Dong deliberately blurs the boundary between the two, granting the human character white eyelashes and sharp claws reminiscent of the furry persona—traces of their mutual transformation. The crisp shirt, manicured nails, and fluttering lashes serve as symbolic emblems of structural discipline, yet they point less to an elevation of “humanity” than to the ephemeral desires and instincts suppressed beneath the veneer of “civilisation.”

The “human figure” and Paula are by no means inherently opposed; instead, they enact the artist’s internal struggle of dual self-consciousness. What Dong presents is a contest between herself and the object of desire. To the viewer, the scene reads as the artist’s solitary creation; yet through the miniature hexagonal window, hierarchies of dominance and submission, resistance and entanglement, and the interplay of innocence and veiled emotion play out within her. The video within the window subtly foregrounds this psychological process, transforming the studio into a tangible stage of the psyche and deepening the spiritual dimension of painting.

The figure of dominance collapses in convulsion, and the scene shifts from turbulent blood-red to a pristine, silent white—a tremor that delivers no lasting serenity. The video concludes with Paula’s uncanny yet liberated movements, extending the struggle into an endless loop and further revealing the artist’s meditation on cyclical processes of becoming. As Dong notes, Extra Episode is both an expansion of the work’s formal possibilities and an externalization of her inner solitude and yearning for acknowledgment. Dong is less concerned with outcomes. She focuses on the process through which the soul is compressed and articulated. This emergence unfolds beyond discursive frameworks. The state of painting hangs between her gestures and the intensity of her emotions. It materializes in a presence that transcends the flatness of the canvas. From its first emergence, the image penetrates the canvas through pigment and repeated overpainting, establishing a resonant mechanism that exists beyond language.

▲Bingqing Dong. Courtesy of the artist 董冰清。图片由艺术家惠允