郑梓程参加今日美术馆展览“现实,超现实——中国当代绘画大展”

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郑梓程参加由北京今日美术馆与深圳市当代艺术与城市规划馆联合主办，艺术史家吕澎策划的“现实，超现实——中国当代绘画大展”。

展览汇聚50位艺术家的60余组作品，回溯超现实主义在中国的发展脉络。作品兼顾 1980年代以来的经典创作与当代新超现实表达，融合本土记忆、科技冲击与全球化语境，呈现个体在时代中的挣扎与思考，为观众打开一场兼具艺术性与思辨性的视觉盛宴。展览已于4月14日在今日美术馆2号馆开幕将持续至6月1日。

郑梓程，《唐山》，2024，布面油画，210 x 200 cm

Zheng Zicheng, MainLand, 2024, oil on canvas, 210 x 200 cm

郑梓程的创作长期关注南方家乡沿海地区近代以来的移民历史，基于家族离散故事展开对海洋、风俗、血缘的追溯和想象，引领观众徘徊于离去与归来的情感之间。在他的作品中带有地域性的元素被反复呈现，火焰、月亮、大海、防风林和造型各异的贡品等，被安排与虚设的地理空间、身体形象错置在同一个画面里，从而形成一种陌生的、疏离的叙事方式。

2024年至今，郑梓程的作品从家族离散故事，扩展到对南方华人离散群体的关注。在近期作品中，艺术家以绘画和影像为主要创作媒介，以之前对家族血缘的代际叙事为基点，通过游移在地理和历史的缝隙，将目光投向从中国南方到太平洋地区的海洋、陆地和边界地带。通过挖掘这些地理临界点的叙事和微小个体，穿插象征手法和符号指代，进一步追问“我们是谁？我们从哪里来？将往何处去”的命题。

（图片与文字由艺术家惠允）

郑梓程，《安南》，2024，布面油画，210 x 200 cm

Zheng Zicheng, Vietnam, 2024, oil on canvas, 210 x 200 cm

Zheng Zicheng participates in “Reality, Surreality—Major Exhibition of Chinese Contemporary Painting,” co-hosted by Today Art Museum and Shenzhen Museum of Contemporary Art & Urban Planning, and curated by art historian Lü Peng.

Bringing together over 60 sets of works by 50 artists, the exhibition traces the trajectory of Surrealism in China. The works span classic creations from the 1980s onward as well as contemporary neo-surreal expressions, weaving together local memories, technological impact, and the globalized context. They reveal individuals’ struggles and reflections within the era, offering the audience a visual feast that blends artistry with intellectual inquiry. The exhibition opened on April 14 at Today Art Museum and runs until June 1.

“现实，超现实——中国当代绘画大展”，展览现场，今日美术馆，北京，2026

“Reality, Surreality—Major Exhibition of Chinese Contemporary Painting”, installation view, Today Art Museum, Beijing, 2026 

Zheng Zicheng’s work has long focused on the modern history of migration along the coastal areas of his southern hometown. His works draw on family stories of diaspora to trace and reimagine the sea, customs, and blood ties, guiding viewers through emotions suspended between departure and return. In his paintings, regionally charged elements—flames, the moon, the sea, windbreak forests, and offerings of varied forms—appear repeatedly, set against fictional geographical spaces and bodily images within a single composition, thereby constructing an uncanny, alienated mode of storytelling.

Since 2024, Zheng Zicheng’s work has expanded from his own family’s diasporic narratives to a broader concern with southern Chinese diasporic communities. In recent works, the artist employs painting and video as his primary media. Building on an earlier intergenerational narrative of kinship and bloodlines, he navigates the fissures between geography and history, casting his gaze upon the seas, lands, and border zones that stretch from southern China into the Pacific region. By excavating narratives and minute individuals at these geographical thresholds and interweaving symbolism and signs, he probes further into the question: “Who are we? Where do we come from? Where are we going?”

(Texts and images are courtesy of the artist)

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