協力空间即将呈现赵宇个展“热病”。
过去几年赵宇衷于描绘烟花火烛，爆破工程，弹头残片——文明过剩的症候，冷却凝结的抽象激情。当然可以说，赵宇对象征之物的精挑细选无疑印证了图像生命之存在，图像从不孤立而深嵌于历史政治文明当中。从神圣塑像联想西方与宗教，从凌空焰火联想庆典与祝福，公式化的人类意识与情感的条件反射兴许是一种灾难性的节制。
赵宇，长夜（之五），2024
布面丙烯，150 x 100 cm
其2024年系列作品《落幕》《长夜》《迷雾》聚焦自然界的掠夺、奢靡与复仇。热带植物的生长蛮横无理，通过再度压低画面整体色彩，赵宇引领观者进入一片向死的夜色，其中盛放着行将吞噬一切可及之物为养料的茂郁草木。生殖的暴力气息弥漫于时空，而照亮植株的光源则近似人类产物：来自匍匐角度的相机闪光灯或其它。漂浮在画面间的彩色光点更添一份无序：萤火虫。鬼。深海生物的冷光。山火。人造物的最后一粒灰烬。外星文明。
太阳无端将热量挥洒于地，生命本质是一种待偿还的浪费。而热带是宿命之象征，既可无限蔓生，亦可于梦中显现。在三岛由纪夫的《晓寺》中，雨季曼谷仿若末日降临般的瑰丽晚霞下，二人对白留下这一片段：
“艺术比任何事物都更早地预见、准备，并亲身实现每个时代的末世观。”赵宇的绘画是对浪漫末世的袖手旁观，亦是灰飞烟灭的如斯预见。
Double Double Gallery is pleased to present Zhao Yu’s solo exhibition “Fever.”
In recent years, Zhao Yu has turned his gaze to fireworks, demolitions, and fragments of bullets—symbols of excess, traces of civilization, and the cooling of wild passion into hardened forms. His imagery echoes Aby Warburg’s idea of the life of visual symbols, the affirming that images are never isolated. They are woven into the fabric of history, politics, and culture. Sacred statues summon thoughts of Western religion; fireworks ignite fleeting celebrations and blessings. Yet beneath these symbols lies the restraint of human emotion, trapped in patterns, destined to repeat.
In his 2024 series—Night After Night, The Long Night, and The Mist—Zhao shifts his focus to nature’s cycles of plunder, waste, and vengeance. Tropical plants, fierce and untamed, spread across these works, their growth unchecked. Muted tones shroud the scenes in a deathly dusk, as leaves and vines reach to consume all in their path. The air pulses with the violence of reproduction, while light flickers from artificial sources—camera flashes, perhaps, or something more obscure. Specks of coloured light float across the canvas: could be fireflies. Ghosts. The glow of deep-sea creatures. Distant wildfires, or, the embers of human ruins.
The sun scatters its heat without care. Life, at its heart, is waste waiting to be repaid. In Zhao’s work, the tropics become a dream of fate—boundless, overgrown, yet hauntingly unreal. As Yukio Mishima wrote in The Temple of Dawn, the rainy season in Bangkok glows with an apocalyptic beauty, under a sky heavy with meaning:
“Art, more than anything else, foresees, prepares for, and embodies the eschatology of every era.”
Zhao Yu’s paintings witness this end—a romantic apocalypse, observed from a distance, where everything burns to ash and fades.
文/林雨扬
赵宇 / Zhao Yu
1993年出生于云南，分别于2020年和2017年在四川美术学院油画系取得了硕士以及学士学位。曾入选多个绘画奖项以及艺术家驻留项目，包括荷兰阿姆斯特丹 “记忆三角洲”青年艺术家驻留项目（2018），四川美术学院驻留项目（2020），华泰青年艺术家驻留项目（2023）等。现工作生活于重庆。
赵宇的艺术实践通过绘画的方式探索图像、文字所蕴含的歧义及误读，对人的情绪和意志的影响。近期作品主要关注客体在所处环境中，外部力量对其的形塑。
林雨扬 / Lin Yuyang
林雨扬是工作和生活在北京的策展人、作者、译者。她拥有外交学院英语专业文学学士学位和伦敦艺术大学切尔⻄艺术学院策展与收藏荣誉硕士学位，先后供职于佩斯北京、木木美术馆、芳草地艺术项目。其近期主要展览项目包括“马丁·马吉拉在木木美术馆”（2022）、“萨勒曼·图：夜虹”（2022）、“安·维罗尼卡·詹森斯：粉黄蓝”（2023）、“娜布其：绿幕游戏”（2024）等，并为展览出版物提供笔译工作；同时作为一名独立声音创作者，她于2022年发布了个人EP“rolls of thunder”。
