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. 


CV
Email
Instagram







The Toughest Vulnerability
Toughened Glasses Film OF IPHONE&HUAWEI / Electric motor
aluminum frame
Electric Installation 
2m*2.5m



The installation is constructed from toughened glass film, a material commonly used to protect the screens of high-tech devices like iPhones. Born in Chinese factories, this never-shattering film is both practical and symbolic. It can fragment internally while maintaining an outward appearance of unity and integrity—an unsettling parallel to the strategies employed by the Chinese government in an accelerationist society.

The structure is designed like the entrance gate of a factory, rising and falling every eight hours, mirroring the rhythm of industrial labor. In its initial state, the gate resists movement due to the pristine integrity of the toughened glass film. Yet, with each cycle of opening and closing, the sheets of film press against and crush one another, gradually softening and weakening. Over time, the once-rigid material becomes increasingly fragile, making the gate easier to manipulate and control.

This transformation encapsulates a broader sociopolitical reality. By exploiting a deeply rooted national inferiority complex and the trauma of cultural invasion, the government fosters a highly unified nationalist ideology. This manufactured unity drives rapid economic growth and offers a fleeting sense of material satisfaction, yet it simultaneously perpetuates cycles of self-exploitation. Through the relentless reactivation of collective trauma, society projects an image of cohesion and strength, but beneath the surface, it is fractured and vulnerable—much like the installation itself.