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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Natural View
Art book/ Real-time cctv images
A5 size
2019
Every image in this work is sourced from real-time CCTV surveillance footage. By composing the entire visual field from these live feeds, the piece immerses viewers in a space where observation becomes both medium and message.
This artistic gesture invites a deeper contemplation of the invisible systems that constantly watch, record, and archive our movements. In juxtaposing these impersonal, often overlooked images with the aesthetics of landscape, the work blurs the line between technological utility and poetic expression.
Rather than capturing nature directly, the piece filters it through the cold lens of surveillance, exposing how our encounters with the natural world are increasingly mediated by digital infrastructures. In doing so, it raises questions about authorship, visibility, and the changing role of the image in contemporary life.
The result is a quietly subversive meditation on control and beauty, where the act of watching becomes a form of creation, and surveillance—unknowingly—becomes a mediator of our time.