Kexin Hong



Kexin Hong was born in China, lives and works in the Netherlands, as a multidisciplinary artist, she employs a variety of media including, video, sculpture, and digital fabrication as tools to explore political issues on digital platform and sociology.

Kexin Hong is fascinated by the boundaries between reality and virtuality, as well as the real and the imaginary; Her research delves into the impact of post-colonial trauma on the self- projection mechanisms among individuals in the post-truth era. It investigates how these self- projection mechanisms are manipulated by politically motivated power structures in the rapidly evolving landscape of technology, thereby constructing a multitude of projective realities. Kexin perceives these virtual realities as an ouroboros, perpetually self-referential, created based on our subjective emotions and deeply intertwined with collective social and cultural histories.
In other words, she intends to investigate how political images achieve a fictional “authenticity” while affirming themselves in reverse. 


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Objects in the mirror are closer than they appear
Video- 18’47



Objects In the Mirror Are Closer Than They Appear is an art video developed from Kexin’s fictive I-novel to prompt reflection on simulation hypothesis and selfhood in the post-truth era of the virtual world. Kexin realizes that virtual reality extends beyond mere visual perception, but also intersects with psychosocial and self-projection mechanism. In the realm of social psychology, the utilization of self-projection has the potential to destroy our relationship in real life.

Adapted from the novel, Kexin harnessed its structural essence to craft a 20-minute desktop film, which serves as a reflective medium mirroring the narrative arc of her novel. This film is not merely a component of the novel, but also a tangible manifestation of the imaginative realm within which the novel is contextualized. Through this multimedia convergence, a symbiotic narrative space emerges, enhancing the depth and breath of the storytelling experience.

The film allows Kexin to comment on gaze relations in locating the so-called truth, it is this distance that makes “truth” easier to produce and control.