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<channel>
	<title>KANG TIAN-HU</title>
	<link>https://tianhukang.com</link>
	<description>KANG TIAN-HU</description>
	<pubDate>Sun, 02 Feb 2025 10:21:32 +0000</pubDate>
	<generator>https://tianhukang.com</generator>
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	<item>
		<title>Commission: Night Walk With Teenagers @Tokyo</title>
				
		<link>https://tianhukang.com/Commission-Night-Walk-With-Teenagers-Tokyo</link>

		<pubDate>Sun, 02 Feb 2025 10:21:32 +0000</pubDate>

		<dc:creator>KANG TIAN-HU</dc:creator>

		<guid isPermaLink="true">https://tianhukang.com/Commission-Night-Walk-With-Teenagers-Tokyo</guid>

		<description>Nightwalks With Teenagers @Tokyo
For Mammalian Diving Reflex &#38;amp; Yurakucho Art Urbanism
Commission, November 2024


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	</item>
		
		
	<item>
		<title>This Person Does Not Exist?</title>
				
		<link>https://tianhukang.com/This-Person-Does-Not-Exist</link>

		<pubDate>Wed, 14 Jul 2021 04:07:43 +0000</pubDate>

		<dc:creator>KANG TIAN-HU</dc:creator>

		<guid isPermaLink="true">https://tianhukang.com/This-Person-Does-Not-Exist</guid>

		<description>The analysis of large quantities of facial data via machine learning enables ‘non-existent faces’ to be generated. At the same time, the same technology is deployed and utilized by authorities and tech corporates to identify and track people through profiling the facial info, such as facial expressions, gender, age and ethnicity.

The machine learning-generated face is said to be “non-existent.” However, if run it through an face analyser based on machine learning, one can obtain information on the facial expression, gender, age range, and other characteristics of this “non-existent” face perceived by the machine.


By using the machine learning face analyser, this process in fact validates the existence of the “non-existent” face generated by machine learning. And it raises the questions:

This Person Does Not Exist? &#38;nbsp;If it does, then how?
Who determines our existence&#38;nbsp;&#38;amp; defines our identities?Work-In-Progress, 2021


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</description>
		
	</item>
		
		
	<item>
		<title>Desktop</title>
				
		<link>https://tianhukang.com/Desktop</link>

		<pubDate>Fri, 19 Feb 2021 09:56:17 +0000</pubDate>

		<dc:creator>KANG TIAN-HU</dc:creator>

		<guid isPermaLink="true">https://tianhukang.com/Desktop</guid>

		<description>
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		<title>A Banquet at Museum</title>
				
		<link>https://tianhukang.com/A-Banquet-at-Museum</link>

		<pubDate>Sat, 27 Jan 2024 05:42:34 +0000</pubDate>

		<dc:creator>KANG TIAN-HU</dc:creator>

		<guid isPermaLink="true">https://tianhukang.com/A-Banquet-at-Museum</guid>

		<description>A Banquet at MuseumIntervention on Power and Gaze美術館での宴会——権力と凝視への介入
2024, Tokyo University of the Arts / 東京藝術大学

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	This project is an experimental exploration, using irony and humor, to examine politics and hierarchical power dynamics in appropriation of history, institutional control, and surveillance. The project aims to spark an awareness of the often overlooked power structures fueling our perception of history and culture.&#60;img width="3982" height="1988" width_o="3982" height_o="1988" data-src="https://freight.cargo.site/t/original/i/a529383325df21307ef769806afbb22b3c076e91a925639a97ad10d3ee185347/Asset-2.png" data-mid="202980971" border="0" data-no-zoom data-draggable data-icon-mode src="https://freight.cargo.site/w/1000/i/a529383325df21307ef769806afbb22b3c076e91a925639a97ad10d3ee185347/Asset-2.png" /&#62;
It is a fabricated exhibition constructed around the painting, "Banquet at Dejima" by Keiga Kawahara, collected in the Tokyo University of the Arts Art Museum. The painting depicts a festive gathering in Dejima, Nagasaki during the Sakoku period, featuring Dutch merchants, Japanese officials, courtesans, and Indonesian slaves. It symbolically reflects colonialism, prejudice, and hierarchical attitudes, particularly through the portrayed gestures of the courtesans and slaves.
The setup employs a "white-cube" space within the Geidai Art Museum, aiming to dismantle power structures within this cultural institution. The work communicates complex issues through several elements.&#38;nbsp; 
A performance, captured in the style of surveillance footage, displaying the actions against authority, destruction of the painting, including the spraying painting, egg throwing, and ketchup pouring by an individual dressed as the courtesans in the painting, is projected onto an ornately faux golden frame. A prominent aspect is the spraying of the Chinese character “拆,” indicating demolition. Incorporating this symbol, the artist makes a statement against authoritative power by re-appropriate it, symbolizing rebellion and resistance.
Another monitor presents a distinct viewpoint, capturing the focused gaze of the individual causing the destruction. This monitor also randomly transitions to a live video stream, showcasing the audience's faces, enlarged eyes and analysis of their identities, transforming viewers from passive spectators into a target of survelliance, echoing the theme of seeing and being seen.
The installation incorporates warning signs mimicking museum instructions and stanchions, and the “no image” sign from the webpage of the original artwork in Geidai Museum Database website. By creating an fabricated environment where rules overshadow art, this critique extends to wider issues, serving as a satirical critique of restrictive institutional control over public access to culture and history, inviting viewers to question who’s in control.
The artist’s edit of the original painting blurs out the marginalized figures, protesting on their erasure in historical narratives. This act subverts traditional power dynamics and reclaims the narrative for them. The artwork scrutinizes the 'gaze of power,' a concept exemplifying how dominant groups manipulate narratives and images of marginalized societies. It represents a radical challenge to these unequal power structures and the institutional control on appropriation of culture and history.
	本作は、皮肉とユーモアを用いて、歴史の流用、制度的統制、監視における政治と階層的権力構造を検証する実験的探求である。私たちの歴史や文化に対する認識を助長する、しばしば見過ごされがちな権力構造に対する認識を喚起することを目的としている。
 
本作は東京芸術大学院大学美術館に収蔵されている川原慶賀の「長崎出島館内之図」という絵画を中心に構成された捏造された展示である。この絵は、オランダ商人、日本の官僚、公娼、インドネシア人奴隷が参加した、鎖国時代の長崎・出島の酒宴を描いたものである。植民地主義、偏見、階層意識を象徴的に反映しており、特に公娼や奴隷の仕草が描かれている。
 藝大美術館内の「ホワイトキューブ」空間を利用し、この文化施設内の権力構造を解体することを目指している。本作は、いくつかの要素を通して複雑な問題を伝えている。
監視カメラの映像のようなスタイルで撮影された、絵の中の女性の格好をした人物による絵のスプレー、卵投げ、ケチャップかけなどの権力に対抗する行動を示すパフォーマンスが、華麗なフェイクの金色のフレームに映し出される。顕著なのは、取り壊しを示す「拆」という漢字の吹き付けである。このシンボルを取り入れることで、作者は権威的な権力に対する声明を出し、反抗と抵抗を象徴している。
 もう一つのモニターは、破壊者の集中した視線をとらえ、明確な視点を提示する。また、ランダムにライブストリームに切り替わり、観客の顔を映し出し、彼らのアイデンティティを分析することで、観客を受動的な観客から作品の一部へと変貌させ、「見る」「見られる」というテーマを反響させている。 &#60;img width="2148" height="1927" width_o="2148" height_o="1927" data-src="https://freight.cargo.site/t/original/i/f8001206286d1129dafd6f845284977206352e6fa6937ebb74d8f286e31ab946/noaccess.png" data-mid="202933412" border="0" data-scale="25" data-no-zoom data-draggable data-icon-mode src="https://freight.cargo.site/w/1000/i/f8001206286d1129dafd6f845284977206352e6fa6937ebb74d8f286e31ab946/noaccess.png" /&#62;
インスタレーションには、美術館の警告標識や群集制御ロープや、藝大サイトの原作のウェブページにある「画像表示不可」のサインが組み込まれている。ルールがアートを覆い隠す環境を作り出すことで、この批評はより広い問題へと広がり、文化や歴史への一般的なアクセスを制限する制度的な統制に対する風刺的な批評として機能し、誰がそれを統制しているのかという疑問を鑑賞者に投げかける。 
作者は、原画に描かれた社会から疎外された人物をぼかし、歴史的物語における彼らの抹殺に抗議している。この行為は、伝統的な権力構造を覆し、彼らのために物語を取り戻す。この作品は「権力の凝視」を精査したもので、統治集団が周縁化された社会の物語やイメージをどのように操作するかを例証する概念である。この作品は、こうした権力構造や、文化や歴史の流用に対する制度的統制に対する根本的な挑戦を表している。
&#60;img width="3968" height="2628" width_o="3968" height_o="2628" data-src="https://freight.cargo.site/t/original/i/5b1be0ac8681fa135264c4eda05cba5d2e5138d5e10fac5980aca215d4eb8146/Asset-4.png" data-mid="202980994" border="0" data-scale="26" data-no-zoom data-draggable data-icon-mode src="https://freight.cargo.site/w/1000/i/5b1be0ac8681fa135264c4eda05cba5d2e5138d5e10fac5980aca215d4eb8146/Asset-4.png" /&#62;



	WARNING SIGNS:

&#60;img width="5000" height="3334" width_o="5000" height_o="3334" data-src="https://freight.cargo.site/t/original/i/a94d56b4f46b8dcbd9afcfcabffb1f82ece137f253faea2d492833fc201cdefa/mindyourhead-web.jpg" data-mid="203802784" border="0" data-scale="60" alt="MIND YOUR HEAD" data-caption="MIND YOUR HEAD" src="https://freight.cargo.site/w/1000/i/a94d56b4f46b8dcbd9afcfcabffb1f82ece137f253faea2d492833fc201cdefa/mindyourhead-web.jpg" /&#62;
Click to read my short essay (English only) :

"Unveiling Power Dynamics in Intercultural Exchange: Challenging Cultural Institutions and Shaping Perspectives on History"

&#60;img width="2999" height="2122" width_o="2999" height_o="2122" data-src="https://freight.cargo.site/t/original/i/bba273c58a7d9086366da9dd4aedca66b0061f91522c58e360975d56661ad366/INVISIBLE.jpg" data-mid="202981152" border="0"  src="https://freight.cargo.site/w/1000/i/bba273c58a7d9086366da9dd4aedca66b0061f91522c58e360975d56661ad366/INVISIBLE.jpg" /&#62;



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&#60;img width="8000" height="4500" width_o="8000" height_o="4500" data-src="https://freight.cargo.site/t/original/i/c8128ec0b78720f456fcecb61e7cdaccadea2f3796e825837937e136dc322eae/whosincontrol_1-EN.png" data-mid="202980856" border="0"  src="https://freight.cargo.site/w/1000/i/c8128ec0b78720f456fcecb61e7cdaccadea2f3796e825837937e136dc322eae/whosincontrol_1-EN.png" /&#62;
&#60;img width="8000" height="4500" width_o="8000" height_o="4500" data-src="https://freight.cargo.site/t/original/i/5c109eb97d9cafcbe5b72b193aaeb53e3feb5b2430d2c7a383974e604744870a/whosincontrol_3-JP.png" data-mid="202980858" border="0"  src="https://freight.cargo.site/w/1000/i/5c109eb97d9cafcbe5b72b193aaeb53e3feb5b2430d2c7a383974e604744870a/whosincontrol_3-JP.png" /&#62;
&#60;img width="8000" height="4500" width_o="8000" height_o="4500" data-src="https://freight.cargo.site/t/original/i/6d0727dcbcb6eda0dc782c952bacc7cb6de89d0dde123ff36c267c3ccfde0cb2/whosincontrol_3-EN.png" data-mid="202980859" border="0"  src="https://freight.cargo.site/w/1000/i/6d0727dcbcb6eda0dc782c952bacc7cb6de89d0dde123ff36c267c3ccfde0cb2/whosincontrol_3-EN.png" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>2020</title>
				
		<link>https://tianhukang.com/2020</link>

		<pubDate>Wed, 14 Jul 2021 03:40:33 +0000</pubDate>

		<dc:creator>KANG TIAN-HU</dc:creator>

		<guid isPermaLink="true">https://tianhukang.com/2020</guid>

		<description>2020
newsprint taped on concrete wall, 2019

In Chinese publishing system, placing a black rectangle around a name denotes death.
What is the significance of declaring the death of the next year before it begins?

What does “2020” mean to you? 
A number? or an icon / symbol in a specific international sociopolitical context?
Tokyo Olympics? US Presidential Election? A good lil wish for the next year?


2020, is no longer just a number: 
as a pictorial sign, it reflects what we learnt in the past denotation.
By combining the symbolic number &#38;amp; literary sign into a new whole, this work proposes a multifaceted exploration of the relationship between society, politics, and pictorial signs.&#60;img width="3500" height="2510" width_o="3500" height_o="2510" data-src="https://freight.cargo.site/t/original/i/9a87c1825a51a0cd2a4364af8af2f4e107c202dad9357a0cd2e1257fbaf65f70/2020-doc.png" data-mid="113789337" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/9a87c1825a51a0cd2a4364af8af2f4e107c202dad9357a0cd2e1257fbaf65f70/2020-doc.png" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>A Trip to Nowhere</title>
				
		<link>https://tianhukang.com/A-Trip-to-Nowhere</link>

		<pubDate>Thu, 11 Jan 2024 14:55:39 +0000</pubDate>

		<dc:creator>KANG TIAN-HU</dc:creator>

		<guid isPermaLink="true">https://tianhukang.com/A-Trip-to-Nowhere</guid>

		<description>A Trip to Nowhere
photographs from somwhere


&#60;img width="1300" height="975" width_o="1300" height_o="975" data-src="https://freight.cargo.site/t/original/i/df025e9b80978ae8be4a47fce277ca513fc10f7a7669eecbfab48154c72e850d/A-Trip-to-Nowhere_1.jpg" data-mid="201521403" border="0" data-scale="93" src="https://freight.cargo.site/w/1000/i/df025e9b80978ae8be4a47fce277ca513fc10f7a7669eecbfab48154c72e850d/A-Trip-to-Nowhere_1.jpg" /&#62;
&#60;img width="1300" height="929" width_o="1300" height_o="929" data-src="https://freight.cargo.site/t/original/i/e288383cb74271f5d88031f3e397fa16ab3d3eea65ed0ee3410fd40ac3dc1e0f/A-Trip-to-Nowhere_2.jpg" data-mid="201521788" border="0"  src="https://freight.cargo.site/w/1000/i/e288383cb74271f5d88031f3e397fa16ab3d3eea65ed0ee3410fd40ac3dc1e0f/A-Trip-to-Nowhere_2.jpg" /&#62;
&#60;img width="1300" height="1040" width_o="1300" height_o="1040" data-src="https://freight.cargo.site/t/original/i/fd5db03ea298a7d5c3519a88922c8d61ea0997b42295a00b8e8f123d6a3198b3/A-Trip-to-Nowhere_6.jpg" data-mid="201521804" border="0"  src="https://freight.cargo.site/w/1000/i/fd5db03ea298a7d5c3519a88922c8d61ea0997b42295a00b8e8f123d6a3198b3/A-Trip-to-Nowhere_6.jpg" /&#62;
&#60;img width="1300" height="1040" width_o="1300" height_o="1040" data-src="https://freight.cargo.site/t/original/i/71823409a3177486878602537d7552e3dcce776b5cdd6319b6fab182a1159c07/A-Trip-to-Nowhere_3.jpg" data-mid="201521793" border="0"  src="https://freight.cargo.site/w/1000/i/71823409a3177486878602537d7552e3dcce776b5cdd6319b6fab182a1159c07/A-Trip-to-Nowhere_3.jpg" /&#62;
&#60;img width="1300" height="929" width_o="1300" height_o="929" data-src="https://freight.cargo.site/t/original/i/4abb582f7674c6bfcc6319c6731ffdec8778f9337b9f9807d32742758dd07f5d/A-Trip-to-Nowhere_5.jpg" data-mid="201521799" border="0"  src="https://freight.cargo.site/w/1000/i/4abb582f7674c6bfcc6319c6731ffdec8778f9337b9f9807d32742758dd07f5d/A-Trip-to-Nowhere_5.jpg" /&#62;
&#60;img width="1300" height="1040" width_o="1300" height_o="1040" data-src="https://freight.cargo.site/t/original/i/b18ea9d862bd888ad2da6c0c35eb10d82af82da515a3d628020eb14cb1452bbd/A-Trip-to-Nowhere_4.jpg" data-mid="201521794" border="0"  src="https://freight.cargo.site/w/1000/i/b18ea9d862bd888ad2da6c0c35eb10d82af82da515a3d628020eb14cb1452bbd/A-Trip-to-Nowhere_4.jpg" /&#62;
&#60;img width="1300" height="929" width_o="1300" height_o="929" data-src="https://freight.cargo.site/t/original/i/d132a89f94a395b66c32c7a73f446f345f9a6525851afec2149411efac6386af/A-Trip-to-Nowhere_8.jpg" data-mid="201521811" border="0"  src="https://freight.cargo.site/w/1000/i/d132a89f94a395b66c32c7a73f446f345f9a6525851afec2149411efac6386af/A-Trip-to-Nowhere_8.jpg" /&#62;
&#60;img width="1300" height="1040" width_o="1300" height_o="1040" data-src="https://freight.cargo.site/t/original/i/a65adf2f437a2fc8d68b4ae29ed6eb445a294eb1d2ecad91bf7c0c8fa4603aa2/A-Trip-to-Nowhere_7.jpg" data-mid="201521810" border="0"  src="https://freight.cargo.site/w/1000/i/a65adf2f437a2fc8d68b4ae29ed6eb445a294eb1d2ecad91bf7c0c8fa4603aa2/A-Trip-to-Nowhere_7.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>(In)Visible</title>
				
		<link>https://tianhukang.com/In-Visible</link>

		<pubDate>Fri, 19 Feb 2021 09:56:18 +0000</pubDate>

		<dc:creator>KANG TIAN-HU</dc:creator>

		<guid isPermaLink="true">https://tianhukang.com/In-Visible</guid>

		<description>In(Visible)
2021
&#60;img width="6000" height="4780" width_o="6000" height_o="4780" data-src="https://freight.cargo.site/t/original/i/b42ebb53e77f181e4fa3a97e54c88854b3fb60b4ea4985b3aaaef6be65933c5a/Tianhu---InVisible.jpg" data-mid="113746389" border="0"  src="https://freight.cargo.site/w/1000/i/b42ebb53e77f181e4fa3a97e54c88854b3fb60b4ea4985b3aaaef6be65933c5a/Tianhu---InVisible.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>Are we seeing each other on the street view?</title>
				
		<link>https://tianhukang.com/Are-we-seeing-each-other-on-the-street-view</link>

		<pubDate>Fri, 19 Feb 2021 09:56:18 +0000</pubDate>

		<dc:creator>KANG TIAN-HU</dc:creator>

		<guid isPermaLink="true">https://tianhukang.com/Are-we-seeing-each-other-on-the-street-view</guid>

		<description>Are We Seeing Each Other on 
the Street of Incognito?Installation 2019

By pointing the camera directly at the audience, performing real-time facial recognition and tracking, mimicking the blurred look of faces on street views, and projecting a larger-than-life-size live feed, the audience is confronted. The work is an attempt to intervene and question the legitimacy of surveillance in the form of facial recognition, as well as how our privacy is being abused by authorities and corporations to make assumptions about our identities’ representation.
&#60;img width="3315" height="2652" width_o="3315" height_o="2652" data-src="https://freight.cargo.site/t/original/i/b175f843d7944b3e9218942cdbd997d74a0285c42598f0b7b791f6765867f82f/Privacy-audienceview.jpg" data-mid="113784381" border="0"  src="https://freight.cargo.site/w/1000/i/b175f843d7944b3e9218942cdbd997d74a0285c42598f0b7b791f6765867f82f/Privacy-audienceview.jpg" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>Archive</title>
				
		<link>https://tianhukang.com/Archive</link>

		<pubDate>Fri, 12 Jan 2024 13:14:28 +0000</pubDate>

		<dc:creator>KANG TIAN-HU</dc:creator>

		<guid isPermaLink="true">https://tianhukang.com/Archive</guid>

		<description>Archiverandom stuff i made in the past


&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/24706cecb961d2112358bdc59676dacb9d28896017d31538701106f6debd620a/hiratetortmason.jpg" data-mid="201548180" border="0" alt="Screen Printed Hirate Yurina Meme Edited as Audio File, 2018" data-caption="Screen Printed Hirate Yurina Meme Edited as Audio File, 2018" src="https://freight.cargo.site/w/1000/i/24706cecb961d2112358bdc59676dacb9d28896017d31538701106f6debd620a/hiratetortmason.jpg" /&#62;
&#60;img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/0bcc97fa3571cad6174569a144b363e686eedf5021fc07cdeb1a01b7f841b95d/compose-flowertree.png" data-mid="201559282" border="0"  src="https://freight.cargo.site/w/1000/i/0bcc97fa3571cad6174569a144b363e686eedf5021fc07cdeb1a01b7f841b95d/compose-flowertree.png" /&#62;
&#60;img width="5000" height="4000" width_o="5000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/3a47a7f99257c28651ff9b3becb58e35688078b017318c91057105dd44c3e634/sfaibackdoor.jpg" data-mid="201626026" border="0" alt="SFAI Backdoor" data-caption="SFAI Backdoor" src="https://freight.cargo.site/w/1000/i/3a47a7f99257c28651ff9b3becb58e35688078b017318c91057105dd44c3e634/sfaibackdoor.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Info</title>
				
		<link>https://tianhukang.com/Info</link>

		<pubDate>Fri, 19 Feb 2021 09:56:18 +0000</pubDate>

		<dc:creator>KANG TIAN-HU</dc:creator>

		<guid isPermaLink="true">https://tianhukang.com/Info</guid>

		<description>KANG, TIAN-HU
b.1998 northern-china-oilfield, chinais an interdisciplinary artist, 
focusing on&#38;nbsp; issues of  misrepresented identity caused by broken privacy, and institutional control on cultural accessiblity.



M.F.A. Global Art Practice @ Tokyo University of the Arts
B.F.A. Photography, Printmaking, Art+Tech @ San Francisco Art Institute





1-650-686-9125tianhukang(a)gmail.com
Curriculum vitae

︎&#38;nbsp;︎ ︎︎</description>
		
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