Kexin Hong
Kexin Hong (b. China) is a multidisciplinary artist and filmmaker based in Amsterdam. Working across moving image, installation, and essay film, she delves into the psychosocial and political forces shaping our sense of reality.
Her work navigates the fragile relationship between collective trauma and memory, questioning how historical wounds reconstruct our self-perception and the very architecture of how memories are formed
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0am/12pm
Video Installation/ kitchen /tv screen 7’10
2019
The work is presented in a kitchen.
When domestic scene becomes the vehicle and a part of the work, has it dissolve the boundary between reality and virtuality?
I employ the dimensional and perceptional discrepancies between the two spaces, in order to connect the real on-site experience and the virtual players’ angle in the game, so that when the audience watches the role trying to escape the virtual world inside the game, he or she may have the similar doubts to the real world.
The game tells a story of escaping. It’s about how a role trapped in the game manages to escape the endless cycles in the virtual world.
Usually, games are designed to employ the first-person narrative to reinforce the audience’s experience. However, the audience also loses his or her own “body” at the same time. We can’t see our faces or bodes. Rather, we only see the virtual objects in the game.
The work features the player in the game. As he or she completes the tasks one by one, due to bugs in the game, the player realizes that he or she is trapped inside the endless cycles of the game. While the player becomes fully aware of it, he or she is forced to restart again and again. In the end, the player manages to destroy the virtual space violently. But when the game is finally demolished, the audience thereby sees that the last image shows the real scene where the audience sits.
The reality is the endless cycle.