Xin Liu's Inward Expeditions | Art21 "New York Close Up"

Nimbly combining the tools of art and science, artist Xin Liu expresses what it means to be human through a diverse body of work that includes frost-coated sculptures, a bubbling fountain of crude oil, and a performance in outer space.
Xin Liu was born in 1991 in Xinjiang, China, and currently lives and works in London, United Kingdom. Learn more about the artist at: art21.org/xinliu.
CREDITS |
Director & Producer : Andrea Yu-Chieh Chung
Executive Producer: Tina Kukielski
Series Producer: Nick Ravich
Editor: Yeon Park
Cinematography: Mark Lee Walley, Yunbo Wu
Field Producer: Angela Guerra Walley
Assistant Curator: Jurrell Lewis
Color Correction: Max Blecker
Sound Design & Mix: Collin Blendell
Design & Graphics: Chips
Music: Liquid Memoirs, Musical Mandalas, The Working Bamboo, ZHRØ
Assistant Editor: Michelle Hanks
Artwork & Archival Courtesy: Xin Liu
Thanks: Glen Andrews, Artpace, Dylan Brainard, Ella Brenzel, Ruth Bushman, Caliente Hot Glass, Vivian Chui, Jingyi Deng, Emma Garcia, Ada Genitempo, Zindy Infante, Domeinic Jimenez, Ruben Luna, Pioneer Works, Riley Robinson
© Art21, Inc. 2024. All rights reserved.
Music:
“soft music” by ZHRØ is licensed under CC BY 4.0 - freesound.org/people/ZHR%C3%9...
“PianoAmbient” by TheWorkingBamboo is licensed under CC BY 4.0 - freesound.org/people/TheWorki...
Featured artworks include:
Cry:0 (2023)
At the end of Everything (2023)
Living Distance (2020)
Orbit Weaver (2018)
The White Stone (2021)
Living Distance | A Performance in Outerspace. by Xin LIU
www.xinliu.art/
"New York Close Up" is made possible with support from The Andy Warhol Foundation for the Visual Arts, public funds from the New York City Department of Cultural Affairs in partnership with the City Council, the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, the Henry Nias Foundation, and individual contributors.
TRANSLATIONS
Translated subtitles are generously contributed by our volunteer translation community.
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#XinLiu #Art21 #Art21NewYorkCloseUp

[@user-lp9pw5ir6l]

Beautifully articulated, Xin!

[@raghavendraj3758]

fantastic miss keep doing your fantastic ideas...

[@renosance8941]

More conversations about who we are with technology, and how to best interact with it, need to be happening. I feel we aren't being wise enough.

[@xitapedrao1377]

I LIKE It

[@Tod_oMal]

Hermosa.

[@beafreeandhappysoulxx]

The artist chooses some natural materials as her subject, but paradoxically uses black oil, a resource that comes from the native lands of the Uyghurs.Karamay is a city in the north of the Uyghur. However, the stark reality remains that this oil rightfully belongs to the Uyghur, but has been unjustly seized by the CCP's construction corps. Which was real in the history, since her grandfather's generation, the CCP has sent millions of people to Xinjiang (Uyghur), not only as settlers, but also to exploit the resources of the Uyghurs. In the process, all of Uyghur natural resources have become controlled assets accessible only to the CCP. Even Uyghur residents pay higher prices for natural gas than other cities because of the centralized distribution. Let's call it what it is - working in the oil industry is not immigration, it is colonization.
Nevertheless, this goes beyond mere materials; it touches on human nature, inner contemplation, than technology itself, it should advocate respect for others rather than complicity in their suffering without consideration, every Uyghur family has a family. However, your humanity is confronted with a harsh reality: In art, violence can be expressed in the illusion of emotion; in real life, it is so real violence when a family member has to be separated, put in jail, no information, I am glad your family's immigrant life is full of love. The CCP perpetrates violence against the Uyghurs, a truth that seems far from your own family's experience Higher education opportunities have long been restricted for the Uyghurs. It's time to think deeply about the implications of contemporary art losing its true audience perspective on Uyghur suffering in a land rich in black oil.