Longlati展讯 | Bingqing Dong 董冰清：归墟烈火
![]()
{{newsData.publisher_name}}
{{newsData.update_time}}
浏览：{{newsData.view_count}}
来源 | {{newsData.source}} 作者 | {{newsData.author}}
2026年04月02日 — 2026年06月18日
Longlati经纬艺术中心欣然宣布将于2026年04月02日呈现艺术家董冰清（Bingqing Dong）的阶段性展览，本次展览将展出艺术家近四个月的绘画创作及一部影像作品。自2025年11月11日个人现场项目“番外”（Extra Episode）在Longlati开幕以来，艺术家持续在展览空间中进行创作，将创作过程本身转化为一种时间性的累积与存在性的实践。展览名“归墟烈火”（The Burning Abyss Within）指向艺术家对既往生命经验、灵魂与命运的持续叩问，同时也映射出她近年来通过创作重建内在秩序、回应外部世界的路径。
“外部世界进入身体。?
命运通过他人，进入我。”
在她的画面中，动物化的身体、毛绒般的笔触与反复出现的肖像构成了一种介于防御与暴露之间的视觉语言。这些形象既是人格面具，也是心理适应机制的外化形式，呈现出个体在高压与不确定环境中的自我保护与重组过程。在持续四个月的创作中，她将Longlati的展厅作为一个半开放的工作室空间，其过程近似于一种暴露疗法：将原本隐秘的个人创作状态引入公共视野，并在这一过程中使艺术家本人对“观看”逐渐脱敏。这亦是一种将自我前置的行为实验。艺术家描述其作品中的形象“宝拉”代表着一种“令人憎恶的弱者”的存在，在不断重复描绘“弱者”的过程中，“宝拉”系列持续生成跨媒介的表达，并指向观众主体的卷入。与此同时，她正在展开的雕塑与视觉音乐剧场系列创作，将“天真”“强大”“欲望”“执念”等人性的不同面向，视为系统问题生成的症结加以展开。本次展览以其近期的大尺幅绘画为主，呈现出对其既有作品逻辑与叙事的高度凝练，以及更为直接而强烈的原初性表达。
董冰清的古代美术研究的学术背景，使她能够将对历史、艺术与人类经验的认知转化为直觉性的绘画语言。她的用笔近乎本能，不受既定规则约束，从内在经验出发，在天真与克制之间维持微妙的张力。作品由此呈现出个体与外部力量之间复杂而持续的互动，并将个人经验转化为对存在、记忆与心理调节机制的探问。她的创作，是对人性、生死与存在问题的持续凝视，也是对人类心理机制与存在状态的视觉化实验。在经历极端的身体与心理经验之后，她在反复绘制中进行自我认知的重塑与心理校准——如同向人工智能算法系统不断输入数据，以实现对自我的持续优化。创作由此成为一种动态机制：既是自我调节与边界重建的过程，也是个体在结构性命运之中重建心理防线、回应外部世界的方式。个体在命运面前即使是无力的，也应当是尽全力的。
Artist Bingqing Dong in the process of creation at her studio 艺术家董冰清工作室
Longlati is pleased to announce that it will present a recent works exhibition by artist Bingqing Dong on April 2nd, 2026. The exhibition features paintings created over the past four months, alongside a video work. Since the opening of her on-site project Extra Episode at Longlati on November 11th, 2025, the artist has continued the on-going practice within the exhibition space, transforming the act of creation itself into a durational accumulation and an existential practice. Titled The Burning Abyss Within, the exhibition points to the artist’s sustained inquiry into her past lived experience, the soul, and fate, while also reflecting her recent trajectory of reconstructing an internal order through artistic practice in response to the external world.
“The external world enters the body.?Fate, through others, enters me.”
Within her works, animalized bodies, plush-like brushstrokes, and recurring portraits form a visual language situated between defense and exposure. These figures function both as masks of persona and as externalizations of psychological adaptive mechanisms, revealing processes of self-protection and reconfiguration under conditions of pressure and uncertainty. Over the course of four months of continuous practice, she has transformed Longlati’s exhibition space as a semi-open studio, a process akin to exposure therapy: bringing an otherwise private creative state into the public realm, while gradually desensitizing the artist herself to the condition of being observed. It also constitutes a behavioral experiment that foregrounds the self.
The artist describes the figure “Paula” in her work as representing the existence of an “abhorrent weakling.” Through the repeated depiction of the “weak,” the Paula series continuously generates cross-media expressions while implicating the subjectivity of the viewer. At the same time, her ongoing sculptural and visual-musical theatre projects approach facets of human nature—such as innocence, strength, desire, and obsession—as critical nodes within a systemic problematic. This exhibition primarily presents her recent large-scale paintings, offering a highly condensed articulation of her existing narrative logic, alongside a more immediate and intensified primal expression.
Her practice constitutes an ongoing contemplation of human nature, life and death, and existence, as well as a visual experimentation with psychological mechanisms and states of being. Having undergone extreme physical and psychological experiences, she engages in repeated painting as a process of cognitive restructuring and psychological recalibration—akin to continuously feeding data into an algorithmic system to optimize the self. Creation thus becomes a dynamic mechanism: both a process of self-regulation and boundary reconstruction, and a means for the individual, within structurally conditioned fate, to rebuild psychological defenses and respond to the external world. Even when powerless before fate, one must nonetheless exert everything in resistance.
▲Bingqing Dong. Courtesy the artist 董冰清，由艺术家惠允
董冰清，中国美术学院古代美术研究生毕业， 师从范景中、万木春，涵泳于图像学、中国文人画传统及媒介理论的学术训练。董冰清的作品涉及影像、绘画、装置和现场演出，探讨人性、自我、生死以及永恒，个体经验将她所受的人文主义训练瓦解为后现代社会的解构主义倾向与叙事，并重构成一种基于心理与哲学的作品逻辑。同时以她学术背景及个人特质中古典与先锋两个极端对撞，呈现出激烈、残酷而浪漫的视觉风格。同时，她作为舞台美术导演长期介入音乐演出现场，切身理解流行文化及青年亚文化表象之下的深层逻辑及精神内核。Bingqing Dong graduated from the China Academy of Art with a master’s degree in the study of ancient art, where she studied under Fan Jingzhong and Wan Muchun, and received rigorous academic training in iconology, the tradition of Chinese literati painting, and media theory. Her practice spans video, painting, installation, and live performance, addressing themes of human nature, the self, life and death, and eternity. Her individual experience destabilizes her humanistic academic training, transforming it into a postmodern, deconstructive narrative tendency, which she then reconstructs into a practice grounded in psychological and philosophical inquiry.Within her work, the “classical” dimension of her academic background and the “avant-garde” aspects of her personal disposition form a sharp tension, resulting in a visual language that is at once intense, cruel, and romantic. At the same time, as a stage art director, she has long been engaged in live music performances, developing an embodied understanding of the underlying logic and psychological core beneath the surface of popular culture and youth subcultures.
Opening Hours
每周二至周六上午11时至下午6时
Tuesday–Saturday 11:00–18:00
地址 Address
上海市静安区文安路30号四层
4/F, 30 Wen’an Road,
Jing’an District, Shanghai
{{flexible[0].text}}
{{newsData.good_count}}
{{newsData.transfer_count}}
分享