本展览由一件名为《一匹马的贞洁》的装置作品展开序幕。这匹用汉白玉石雕刻而成的马形装置，坐落于一楼主展厅当中却不见其首，被人为分解成了上下两截，坚强的形象难以掩盖它与生俱来所散发出的骄傲气质，不免暴露了马匹先天赋有的多重内在情感犹如人类的精神载体。一八八九年一月三日于图灵居所前的广场上，德国诗人哲学家弗里德里希·尼采 (Friedrich Nietzsche) 亲眼目睹一位车夫在凌虐马，于是他便走向前去制止并拥抱那匹马的脖子并落下了眼泪。该画面与俄国文学作家费奥多尔·陀思妥耶夫斯基 (Fyodor Dostoyevsky) 于1866年所著的长篇小说《罪与罚》中主要人物拉斯柯尼科夫 (Raskolnikov) 曾经梦见过的一个情境重合，象征了由现实中的残酷事故而引发的怜悯之情感在无形中产生了巨大的张力，似乎影射了我们所认知的道德与非道德两者之间的冲突。
董金玲 Dong Jinling
单频录像 Single channel video, 23'00'', 2018
DE SARTHE is pleased to announce the opening of Dong Jinling’s first solo exhibition with the gallery titled ‘Purity of a Horse’ on March 17th. The exhibition features a completely new body of work by the artist and will run through May 6th, 2018.
In this exhibition Dong Jinling expands and reflects on the notion of “Purity.” She discusses the delicate relationship and the strong emotional bond that exists between humans and animals. The artist has chosen horses as a focal point as they have had a close relationship to humans since ancient times. To Dong Jinling, horses represent the human spirit. She portrays the horse as a creature that captures simplicity and complexity at the same time. Through the art works in this exhibition, Dong Jinling hopes to construct an bridge between reality and the spiritual world.
Standing in the main hall on the first floor, ‘Purity of a Horse’ is also the name of a horse-shaped installation carved from white marble. Here, the body of the horse is dismembered into two parts and is missing its head. In her artist’s statement Dong Jinling notes, on January 3rd 1889, at the square in front of Turing’s house, German poet and philosopher Friedrich Nietzsche witnessed the abuse of a horse by its driver and when he walked over to the horse, he started crying while holding its neck. This scenario coincides exactly with a dream from Raskolnikov, a main character in the novel ‘Crime and Punishment’ written by Fyodor Dostoyevsky in 1866. The two instances, as well as this artwork, symbolize an intangible tension that originates from powerful sympathies. It references the conflicts between morality and immorality and our limited range of understanding.
‘Purity’ often implies that an individual is of virtuous thoughts, speech, and action. ‘Purity’ can also suggest cleanliness. To Dong Jinling, the word implies a self-restrain and self-censorship that is rooted in morality. The single channel video titled ‘Purity’ records a horse that is led by a person holding a rope. They stand and struggle on a boundless frozen river. From the video, you can only see part of the horse’s body: its legs, its tail, and some animal hearts strewn on the ground. With sound effects customized by independent musician Zhang Jianfeng, these shocking and horrifying images create an even heavier atmosphere. Meanwhile, this atmosphere echoes a solemn sense of ritual that is brought through by Dong Jinling’s oil painting ‘Honor’ and installation work ‘Flag.’
‘The Survivor’s Notes’ is a combination of two photographs, the contents of which came from the artist’s personal experience in Urumqi. It goes back to the year when Xinjiang Uygur Autonomous region permeated with the smell of fear and terror. At the time people saw painful things happening everywhere in the heavily guarded city. Due to a complex set of reasons, horrifying and alarming incidents took over the entire region. As a common resident, Dong Jinling had to worry about petrol bombs breaking her windows at any moment. At that time, she used photography to record what looked like a grey and gloomy sky that was almost static. Dong peeled the skins from her both palms then pasted to the photo where the sky were. In the photos, the flowing patterns of the sky are clearly visible and viewers can sense they retain the turmoil of emotions at the time. There was no honor in the war, only survivors.
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