https://xinliu.art/home 2025-10-17T12:11:45+00:00 always 0.5 https://xinliu.art/header-mobile 2025-10-17T12:10:51+00:00 always 0.5 https://freight.cargo.site/t/original/i/W1788897342304432690288223875747/Xin-Liu--The-Cradle--2024--Silicone--bronze--aluminium--customized-cooling-system--133.3--97.8--11.4-cm_4.jpg https://xinliu.art 2026-05-20T18:51:50+00:00 always 0.5 https://freight.cargo.site/t/original/i/W1788897342304432690288223875747/Xin-Liu--The-Cradle--2024--Silicone--bronze--aluminium--customized-cooling-system--133.3--97.8--11.4-cm_4.jpg https://freight.cargo.site/t/original/i/N2573665607940218123270632272547/Xin-Liu--Book-of-Mine--2025_Detail-6.jpg https://xinliu.art/works 2026-07-02T12:10:55+00:00 always 0.5 https://freight.cargo.site/t/original/i/M1788946972402366034372497797795/oil.jpg https://freight.cargo.site/t/original/i/J1788946972420812778446207349411/cryo.jpg https://freight.cargo.site/t/original/i/R1788946972476153010667336004259/tearseries.jpg https://freight.cargo.site/t/original/i/Y1788946972457706266593626452643/wandering-mind.jpg https://freight.cargo.site/t/original/i/U1788946972494599754741045555875/earth-image.jpg https://freight.cargo.site/t/original/i/Y1788947999572416290741460431523/whitestone.jpg https://freight.cargo.site/t/original/i/F1788955466906651048736502346403/fish.jpg https://freight.cargo.site/t/original/i/V1788955774745916150801499714211/sojourner.jpg https://freight.cargo.site/t/original/i/N1788955774672129174506661507747/fortune.jpg https://freight.cargo.site/t/original/i/N1788955774709022662654080610979/lycorises-dream.jpg https://freight.cargo.site/t/original/i/C1788955774690575918580371059363/living-distance.jpg https://freight.cargo.site/t/original/i/B1789270445873366378573565817507/teratoma.jpg https://freight.cargo.site/t/original/i/I1789276201958493650754632970915/Ground-Station.jpg https://freight.cargo.site/t/original/i/M1789277706235132629547438600867/Makeroom-Web-S-23-1.jpg https://freight.cargo.site/t/original/i/K1797262604457715508220954720102/Underwater-conceptshooting-2-photocredit_Rob_Chron-s.jpg https://freight.cargo.site/t/original/i/O1821103124146718051541765633894/_.jpg https://freight.cargo.site/t/original/i/D2195516416373751780886154080931/The-Permanent-and-Insatiable-Houston--featured-in-BreatheToward-Climate-and-Social-Justice--2025.-Courtesy-of-Xin-Liu-Studio-LTD--London--and-the-Moody-Center-for-the-Arts--Houston.00001.JPG https://freight.cargo.site/t/original/i/Y2600293766481734041723007955619/Copy-of-Xin-Liu--Insomnia--2025_1.jpg https://freight.cargo.site/t/original/i/J3014681021148489266101136945827/051A5694_06_24_26_XinLiu_LizDevine.jpg https://xinliu.art/exhibition-record 2026-07-02T12:05:25+00:00 always 0.5 https://xinliu.art/publication 2026-07-02T11:58:47+00:00 always 0.5 https://xinliu.art/about 2026-05-20T18:55:06+00:00 always 0.5 https://freight.cargo.site/t/original/i/D1789184893489914352120242926243/Xin-Liu_headshot2_2024April_Credit_Wenxuan-Wang.jpg https://freight.cargo.site/t/original/i/F2587400672098834811090378453667/Xin-Liu-Artist-Portrait--2025.-Photo_-Wenxuan-Wang.-Courtesy-of-the-Xin-Liu-Studio-LTD--London-and-Make-Room-Gallery--Los-Angeles.-2025.-.--Make-Room-Gallery_6022.jpg https://xinliu.art/contact 2026-05-20T19:01:16+00:00 always 0.5 https://xinliu.art/header-2 2025-12-16T17:52:15+00:00 always 0.5 https://xinliu.art/individual-project 2026-07-02T11:58:50+00:00 always 0.5 https://xinliu.art/header-for-project 2025-10-21T13:08:20+00:00 always 0.5 https://xinliu.art/the-permanent-and-the-insatiable 2026-07-02T12:01:14+00:00 always 0.5 https://xinliu.art/born-to-sea 2026-07-02T11:58:52+00:00 always 0.5 https://freight.cargo.site/t/original/i/Q2186180803978882386741354328739/The-Permanent-and-Insatiable_-Houston-2024--Model-Examples--Courtesy-of-the-Xin-Liu-Studio-LTD--London.-_-2024----CREDIT-00003-1.jpg Xin Liu, Born to Sea (2026). Exhibited in "The Aural Sea," Uzbekistan National Pavilion, 61st International Art Exhibition – La Biennale di Venezia. <column-set mobile-stack="false"><column-unit slot="0" span="4">Mixed Media Installation</column-unit><column-unit slot="1" span="8">Xin Liu’s The Permanent and the Insatiable: Born to Sea (2026) are made from hand woven post-consumer plastic (PET bottles) and submerged in tanks containing an enzymatic solution. Activated by heat, the reaction gradually breaks down the material over the course of the biennale. Liu’s sculptures resemble both industrial and organic forms: the substructure of machinery or the skeleton of a disappeared organism. Blooming when pristine, the sculptures slowly wilt and decay, prompting reflections on what will emerge in its place. Examining the afterlives of materials and infrastructures left in the wake of the vanished sea, Liu’s work offers a speculative and practical model to think through impossible scenarios. The work takes its cue from an episode in the history of the Aral Sea. In 1847, Russian ships were transported in pieces across the steppe and reassembled in an inland basin with no outlet to any ocean. They were, in a sense, born into a sea from which there could be no departure. Liu’s sculptures inhabit a similarly closed system, though here the movement is not towards construction but towards undoing. As the plastic is broken down into its molecular constituents, what seemed durable and self-contained is returned to a more uncertain state, caught between technological persistence and biological transformation. </column-unit></column-set> https://freight.cargo.site/t/original/i/Z2186248386208340592003036770979/MicroPET-payload-design.png Xin Liu, Born to Sea (2026). Exhibited in "The Aural Sea," Uzbekistan National Pavilion, 61st International Art Exhibition – La Biennale di Venezia. <column-set mobile-stack="false"><column-unit slot="0" span="4">Mixed Media Installation</column-unit><column-unit slot="1" span="8">Xin Liu’s The Permanent and the Insatiable: Born to Sea (2026) are made from hand woven post-consumer plastic (PET bottles) and submerged in tanks containing an enzymatic solution. Activated by heat, the reaction gradually breaks down the material over the course of the biennale. Liu’s sculptures resemble both industrial and organic forms: the substructure of machinery or the skeleton of a disappeared organism. Blooming when pristine, the sculptures slowly wilt and decay, prompting reflections on what will emerge in its place. Examining the afterlives of materials and infrastructures left in the wake of the vanished sea, Liu’s work offers a speculative and practical model to think through impossible scenarios. The work takes its cue from an episode in the history of the Aral Sea. In 1847, Russian ships were transported in pieces across the steppe and reassembled in an inland basin with no outlet to any ocean. They were, in a sense, born into a sea from which there could be no departure. Liu’s sculptures inhabit a similarly closed system, though here the movement is not towards construction but towards undoing. As the plastic is broken down into its molecular constituents, what seemed durable and self-contained is returned to a more uncertain state, caught between technological persistence and biological transformation. </column-unit></column-set> https://freight.cargo.site/t/original/i/W2186248479364398164236272431779/The-Permanent-and-Insatiable_-Houston-2024--Model-Examples--Courtesy-of-the-Xin-Liu-Studio-LTD--London.-_-2024----CREDIT-00004.jpg Xin Liu, Born to Sea (2026). Exhibited in "The Aural Sea," Uzbekistan National Pavilion, 61st International Art Exhibition – La Biennale di Venezia. <column-set mobile-stack="false"><column-unit slot="0" span="4">Mixed Media Installation</column-unit><column-unit slot="1" span="8">Xin Liu’s The Permanent and the Insatiable: Born to Sea (2026) are made from hand woven post-consumer plastic (PET bottles) and submerged in tanks containing an enzymatic solution. Activated by heat, the reaction gradually breaks down the material over the course of the biennale. Liu’s sculptures resemble both industrial and organic forms: the substructure of machinery or the skeleton of a disappeared organism. Blooming when pristine, the sculptures slowly wilt and decay, prompting reflections on what will emerge in its place. Examining the afterlives of materials and infrastructures left in the wake of the vanished sea, Liu’s work offers a speculative and practical model to think through impossible scenarios. The work takes its cue from an episode in the history of the Aral Sea. In 1847, Russian ships were transported in pieces across the steppe and reassembled in an inland basin with no outlet to any ocean. They were, in a sense, born into a sea from which there could be no departure. Liu’s sculptures inhabit a similarly closed system, though here the movement is not towards construction but towards undoing. As the plastic is broken down into its molecular constituents, what seemed durable and self-contained is returned to a more uncertain state, caught between technological persistence and biological transformation. </column-unit></column-set> https://freight.cargo.site/t/original/i/D2186252635378944482850832413347/The-Permanent-and-Insatiable_-Houston-2024--Post-consumer-PET-plastic--Courtesy-of-the-Xin-Liu-Studio-LTD--London.-_-2024--PET--CREDIT-00003.jpg Xin Liu, Born to Sea (2026). Exhibited in "The Aural Sea," Uzbekistan National Pavilion, 61st International Art Exhibition – La Biennale di Venezia. <column-set mobile-stack="false"><column-unit slot="0" span="4">Mixed Media Installation</column-unit><column-unit slot="1" span="8">Xin Liu’s The Permanent and the Insatiable: Born to Sea (2026) are made from hand woven post-consumer plastic (PET bottles) and submerged in tanks containing an enzymatic solution. Activated by heat, the reaction gradually breaks down the material over the course of the biennale. Liu’s sculptures resemble both industrial and organic forms: the substructure of machinery or the skeleton of a disappeared organism. Blooming when pristine, the sculptures slowly wilt and decay, prompting reflections on what will emerge in its place. Examining the afterlives of materials and infrastructures left in the wake of the vanished sea, Liu’s work offers a speculative and practical model to think through impossible scenarios. The work takes its cue from an episode in the history of the Aral Sea. In 1847, Russian ships were transported in pieces across the steppe and reassembled in an inland basin with no outlet to any ocean. They were, in a sense, born into a sea from which there could be no departure. Liu’s sculptures inhabit a similarly closed system, though here the movement is not towards construction but towards undoing. As the plastic is broken down into its molecular constituents, what seemed durable and self-contained is returned to a more uncertain state, caught between technological persistence and biological transformation. </column-unit></column-set> https://freight.cargo.site/t/original/i/K2186252635323604250629703758499/The-Permanent-and-Insatiable_-Houston-2024--making-process--Courtesy-of-the-Xin-Liu-Studio-LTD--London.-_-2024----CREDIT-00001.jpg Xin Liu, Born to Sea (2026). Exhibited in "The Aural Sea," Uzbekistan National Pavilion, 61st International Art Exhibition – La Biennale di Venezia. <column-set mobile-stack="false"><column-unit slot="0" span="4">Mixed Media Installation</column-unit><column-unit slot="1" span="8">Xin Liu’s The Permanent and the Insatiable: Born to Sea (2026) are made from hand woven post-consumer plastic (PET bottles) and submerged in tanks containing an enzymatic solution. Activated by heat, the reaction gradually breaks down the material over the course of the biennale. Liu’s sculptures resemble both industrial and organic forms: the substructure of machinery or the skeleton of a disappeared organism. Blooming when pristine, the sculptures slowly wilt and decay, prompting reflections on what will emerge in its place. Examining the afterlives of materials and infrastructures left in the wake of the vanished sea, Liu’s work offers a speculative and practical model to think through impossible scenarios. The work takes its cue from an episode in the history of the Aral Sea. In 1847, Russian ships were transported in pieces across the steppe and reassembled in an inland basin with no outlet to any ocean. They were, in a sense, born into a sea from which there could be no departure. Liu’s sculptures inhabit a similarly closed system, though here the movement is not towards construction but towards undoing. As the plastic is broken down into its molecular constituents, what seemed durable and self-contained is returned to a more uncertain state, caught between technological persistence and biological transformation. </column-unit></column-set> https://freight.cargo.site/t/original/i/U2186252635360497738777122861731/The-Permanent-and-Insatiable_-Houston-2024--Post-consumer-PET-plastic--Courtesy-of-the-Xin-Liu-Studio-LTD--London.-_-2024--PET--CREDIT-00002.jpg Xin Liu, Born to Sea (2026). Exhibited in "The Aural Sea," Uzbekistan National Pavilion, 61st International Art Exhibition – La Biennale di Venezia. <column-set mobile-stack="false"><column-unit slot="0" span="4">Mixed Media Installation</column-unit><column-unit slot="1" span="8">Xin Liu’s The Permanent and the Insatiable: Born to Sea (2026) are made from hand woven post-consumer plastic (PET bottles) and submerged in tanks containing an enzymatic solution. Activated by heat, the reaction gradually breaks down the material over the course of the biennale. Liu’s sculptures resemble both industrial and organic forms: the substructure of machinery or the skeleton of a disappeared organism. Blooming when pristine, the sculptures slowly wilt and decay, prompting reflections on what will emerge in its place. Examining the afterlives of materials and infrastructures left in the wake of the vanished sea, Liu’s work offers a speculative and practical model to think through impossible scenarios. The work takes its cue from an episode in the history of the Aral Sea. In 1847, Russian ships were transported in pieces across the steppe and reassembled in an inland basin with no outlet to any ocean. They were, in a sense, born into a sea from which there could be no departure. Liu’s sculptures inhabit a similarly closed system, though here the movement is not towards construction but towards undoing. As the plastic is broken down into its molecular constituents, what seemed durable and self-contained is returned to a more uncertain state, caught between technological persistence and biological transformation. </column-unit></column-set> https://freight.cargo.site/t/original/i/N2576324736424890612314581529251/The-Permanent-and-Insatiable_-Houston-2025--Model-Examples--Courtesy-of-the-Xin-Liu-Studio-LTD--London.-_-2024----CREDIT-00004.jpg Xin Liu, Born to Sea (2026). Exhibited in "The Aural Sea," Uzbekistan National Pavilion, 61st International Art Exhibition – La Biennale di Venezia. <column-set mobile-stack="false"><column-unit slot="0" span="4">Mixed Media Installation</column-unit><column-unit slot="1" span="8">Xin Liu’s The Permanent and the Insatiable: Born to Sea (2026) are made from hand woven post-consumer plastic (PET bottles) and submerged in tanks containing an enzymatic solution. Activated by heat, the reaction gradually breaks down the material over the course of the biennale. Liu’s sculptures resemble both industrial and organic forms: the substructure of machinery or the skeleton of a disappeared organism. Blooming when pristine, the sculptures slowly wilt and decay, prompting reflections on what will emerge in its place. Examining the afterlives of materials and infrastructures left in the wake of the vanished sea, Liu’s work offers a speculative and practical model to think through impossible scenarios. The work takes its cue from an episode in the history of the Aral Sea. In 1847, Russian ships were transported in pieces across the steppe and reassembled in an inland basin with no outlet to any ocean. They were, in a sense, born into a sea from which there could be no departure. Liu’s sculptures inhabit a similarly closed system, though here the movement is not towards construction but towards undoing. As the plastic is broken down into its molecular constituents, what seemed durable and self-contained is returned to a more uncertain state, caught between technological persistence and biological transformation. </column-unit></column-set> https://freight.cargo.site/t/original/i/N2576324736166636195282647806627/The-Permanent-and-Insatiable_-Houston-2025--Model-Examples-After-Degradation--Courtesy-of-the-Xin-Liu-Studio-LTD--London.-_-2024----CREDIT--1.jpg Xin Liu, Born to Sea (2026). Exhibited in "The Aural Sea," Uzbekistan National Pavilion, 61st International Art Exhibition – La Biennale di Venezia. <column-set mobile-stack="false"><column-unit slot="0" span="4">Mixed Media Installation</column-unit><column-unit slot="1" span="8">Xin Liu’s The Permanent and the Insatiable: Born to Sea (2026) are made from hand woven post-consumer plastic (PET bottles) and submerged in tanks containing an enzymatic solution. Activated by heat, the reaction gradually breaks down the material over the course of the biennale. Liu’s sculptures resemble both industrial and organic forms: the substructure of machinery or the skeleton of a disappeared organism. Blooming when pristine, the sculptures slowly wilt and decay, prompting reflections on what will emerge in its place. Examining the afterlives of materials and infrastructures left in the wake of the vanished sea, Liu’s work offers a speculative and practical model to think through impossible scenarios. The work takes its cue from an episode in the history of the Aral Sea. In 1847, Russian ships were transported in pieces across the steppe and reassembled in an inland basin with no outlet to any ocean. They were, in a sense, born into a sea from which there could be no departure. Liu’s sculptures inhabit a similarly closed system, though here the movement is not towards construction but towards undoing. As the plastic is broken down into its molecular constituents, what seemed durable and self-contained is returned to a more uncertain state, caught between technological persistence and biological transformation. </column-unit></column-set> https://freight.cargo.site/t/original/i/U2576325151107697389305301856931/The-Permanent-and-Insatiable_-Houston-2025--Model-Examples-After-Degradation--Courtesy-of-the-Xin-Liu-Studio-LTD--London.-_-2024----CREDIT-1.jpg Xin Liu, Born to Sea (2026). Exhibited in "The Aural Sea," Uzbekistan National Pavilion, 61st International Art Exhibition – La Biennale di Venezia. <column-set mobile-stack="false"><column-unit slot="0" span="4">Mixed Media Installation</column-unit><column-unit slot="1" span="8">Xin Liu’s The Permanent and the Insatiable: Born to Sea (2026) are made from hand woven post-consumer plastic (PET bottles) and submerged in tanks containing an enzymatic solution. Activated by heat, the reaction gradually breaks down the material over the course of the biennale. Liu’s sculptures resemble both industrial and organic forms: the substructure of machinery or the skeleton of a disappeared organism. Blooming when pristine, the sculptures slowly wilt and decay, prompting reflections on what will emerge in its place. Examining the afterlives of materials and infrastructures left in the wake of the vanished sea, Liu’s work offers a speculative and practical model to think through impossible scenarios. The work takes its cue from an episode in the history of the Aral Sea. In 1847, Russian ships were transported in pieces across the steppe and reassembled in an inland basin with no outlet to any ocean. They were, in a sense, born into a sea from which there could be no departure. Liu’s sculptures inhabit a similarly closed system, though here the movement is not towards construction but towards undoing. As the plastic is broken down into its molecular constituents, what seemed durable and self-contained is returned to a more uncertain state, caught between technological persistence and biological transformation. </column-unit></column-set> https://freight.cargo.site/t/original/i/T2576325151126144133379011408547/The-Permanent-and-Insatiable_-Houston-2025--Model-Examples-After-Degradation--Courtesy-of-the-Xin-Liu-Studio-LTD--London.-_-2024----CREDIT-2.jpg Xin Liu, Born to Sea (2026). Exhibited in "The Aural Sea," Uzbekistan National Pavilion, 61st International Art Exhibition – La Biennale di Venezia. <column-set mobile-stack="false"><column-unit slot="0" span="4">Mixed Media Installation</column-unit><column-unit slot="1" span="8">Xin Liu’s The Permanent and the Insatiable: Born to Sea (2026) are made from hand woven post-consumer plastic (PET bottles) and submerged in tanks containing an enzymatic solution. Activated by heat, the reaction gradually breaks down the material over the course of the biennale. Liu’s sculptures resemble both industrial and organic forms: the substructure of machinery or the skeleton of a disappeared organism. Blooming when pristine, the sculptures slowly wilt and decay, prompting reflections on what will emerge in its place. Examining the afterlives of materials and infrastructures left in the wake of the vanished sea, Liu’s work offers a speculative and practical model to think through impossible scenarios. The work takes its cue from an episode in the history of the Aral Sea. In 1847, Russian ships were transported in pieces across the steppe and reassembled in an inland basin with no outlet to any ocean. They were, in a sense, born into a sea from which there could be no departure. Liu’s sculptures inhabit a similarly closed system, though here the movement is not towards construction but towards undoing. As the plastic is broken down into its molecular constituents, what seemed durable and self-contained is returned to a more uncertain state, caught between technological persistence and biological transformation. </column-unit></column-set> https://freight.cargo.site/t/original/i/O2576325150830996228199658582691/The-Permanent-and-Insatiable_-Houston-2025--Model-Examples-After-Degradation--Courtesy-of-the-Xin-Liu-Studio-LTD--London.-_-2024----CREDIT-.jpg Xin Liu, Born to Sea (2026). Exhibited in "The Aural Sea," Uzbekistan National Pavilion, 61st International Art Exhibition – La Biennale di Venezia. <column-set mobile-stack="false"><column-unit slot="0" span="4">Mixed Media Installation</column-unit><column-unit slot="1" span="8">Xin Liu’s The Permanent and the Insatiable: Born to Sea (2026) are made from hand woven post-consumer plastic (PET bottles) and submerged in tanks containing an enzymatic solution. Activated by heat, the reaction gradually breaks down the material over the course of the biennale. Liu’s sculptures resemble both industrial and organic forms: the substructure of machinery or the skeleton of a disappeared organism. Blooming when pristine, the sculptures slowly wilt and decay, prompting reflections on what will emerge in its place. Examining the afterlives of materials and infrastructures left in the wake of the vanished sea, Liu’s work offers a speculative and practical model to think through impossible scenarios. The work takes its cue from an episode in the history of the Aral Sea. In 1847, Russian ships were transported in pieces across the steppe and reassembled in an inland basin with no outlet to any ocean. They were, in a sense, born into a sea from which there could be no departure. Liu’s sculptures inhabit a similarly closed system, though here the movement is not towards construction but towards undoing. As the plastic is broken down into its molecular constituents, what seemed durable and self-contained is returned to a more uncertain state, caught between technological persistence and biological transformation. </column-unit></column-set> https://freight.cargo.site/t/original/i/H2576325247141447037037227569827/The-Permanent-and-Insatiable_-Houston-2025--Model-Examples--Courtesy-of-the-Xin-Liu-Studio-LTD--London.-_-2024----CREDIT-00006.jpg Xin Liu, Born to Sea (2026). Exhibited in "The Aural Sea," Uzbekistan National Pavilion, 61st International Art Exhibition – La Biennale di Venezia. <column-set mobile-stack="false"><column-unit slot="0" span="4">Mixed Media Installation</column-unit><column-unit slot="1" span="8">Xin Liu’s The Permanent and the Insatiable: Born to Sea (2026) are made from hand woven post-consumer plastic (PET bottles) and submerged in tanks containing an enzymatic solution. Activated by heat, the reaction gradually breaks down the material over the course of the biennale. Liu’s sculptures resemble both industrial and organic forms: the substructure of machinery or the skeleton of a disappeared organism. Blooming when pristine, the sculptures slowly wilt and decay, prompting reflections on what will emerge in its place. Examining the afterlives of materials and infrastructures left in the wake of the vanished sea, Liu’s work offers a speculative and practical model to think through impossible scenarios. The work takes its cue from an episode in the history of the Aral Sea. In 1847, Russian ships were transported in pieces across the steppe and reassembled in an inland basin with no outlet to any ocean. They were, in a sense, born into a sea from which there could be no departure. Liu’s sculptures inhabit a similarly closed system, though here the movement is not towards construction but towards undoing. As the plastic is broken down into its molecular constituents, what seemed durable and self-contained is returned to a more uncertain state, caught between technological persistence and biological transformation. </column-unit></column-set> https://freight.cargo.site/t/original/i/C2576325247455041686290289947299/The-Permanent-and-Insatiable_-Houston-2025--Model-Examples--Courtesy-of-the-Xin-Liu-Studio-LTD--London.-_-2024----CREDIT-00008.jpg Xin Liu, Born to Sea (2026). Exhibited in "The Aural Sea," Uzbekistan National Pavilion, 61st International Art Exhibition – La Biennale di Venezia. <column-set mobile-stack="false"><column-unit slot="0" span="4">Mixed Media Installation</column-unit><column-unit slot="1" span="8">Xin Liu’s The Permanent and the Insatiable: Born to Sea (2026) are made from hand woven post-consumer plastic (PET bottles) and submerged in tanks containing an enzymatic solution. Activated by heat, the reaction gradually breaks down the material over the course of the biennale. Liu’s sculptures resemble both industrial and organic forms: the substructure of machinery or the skeleton of a disappeared organism. Blooming when pristine, the sculptures slowly wilt and decay, prompting reflections on what will emerge in its place. Examining the afterlives of materials and infrastructures left in the wake of the vanished sea, Liu’s work offers a speculative and practical model to think through impossible scenarios. The work takes its cue from an episode in the history of the Aral Sea. In 1847, Russian ships were transported in pieces across the steppe and reassembled in an inland basin with no outlet to any ocean. They were, in a sense, born into a sea from which there could be no departure. Liu’s sculptures inhabit a similarly closed system, though here the movement is not towards construction but towards undoing. As the plastic is broken down into its molecular constituents, what seemed durable and self-contained is returned to a more uncertain state, caught between technological persistence and biological transformation. </column-unit></column-set> https://freight.cargo.site/t/original/i/Z2576325247436594942216580395683/The-Permanent-and-Insatiable_-Houston-2025--Model-Examples--Courtesy-of-the-Xin-Liu-Studio-LTD--London.-_-2024----CREDIT-00007.jpg Xin Liu, Born to Sea (2026). Exhibited in "The Aural Sea," Uzbekistan National Pavilion, 61st International Art Exhibition – La Biennale di Venezia. <column-set mobile-stack="false"><column-unit slot="0" span="4">Mixed Media Installation</column-unit><column-unit slot="1" span="8">Xin Liu’s The Permanent and the Insatiable: Born to Sea (2026) are made from hand woven post-consumer plastic (PET bottles) and submerged in tanks containing an enzymatic solution. Activated by heat, the reaction gradually breaks down the material over the course of the biennale. Liu’s sculptures resemble both industrial and organic forms: the substructure of machinery or the skeleton of a disappeared organism. Blooming when pristine, the sculptures slowly wilt and decay, prompting reflections on what will emerge in its place. Examining the afterlives of materials and infrastructures left in the wake of the vanished sea, Liu’s work offers a speculative and practical model to think through impossible scenarios. The work takes its cue from an episode in the history of the Aral Sea. In 1847, Russian ships were transported in pieces across the steppe and reassembled in an inland basin with no outlet to any ocean. They were, in a sense, born into a sea from which there could be no departure. Liu’s sculptures inhabit a similarly closed system, though here the movement is not towards construction but towards undoing. As the plastic is broken down into its molecular constituents, what seemed durable and self-contained is returned to a more uncertain state, caught between technological persistence and biological transformation. </column-unit></column-set> https://freight.cargo.site/t/original/i/M3000270116691268309724043965091/Xin-Liu--Born-to-Sea-2026.-Exhibited-in--The-Aural-Sea---Uzbekistan-National-Pavilion--61st-International-Art-Exhibition--La-Biennale-di-Venezia.jpg Xin Liu, Born to Sea (2026). Exhibited in "The Aural Sea," Uzbekistan National Pavilion, 61st International Art Exhibition – La Biennale di Venezia. <column-set mobile-stack="false"><column-unit slot="0" span="4">Mixed Media Installation</column-unit><column-unit slot="1" span="8">Xin Liu’s The Permanent and the Insatiable: Born to Sea (2026) are made from hand woven post-consumer plastic (PET bottles) and submerged in tanks containing an enzymatic solution. Activated by heat, the reaction gradually breaks down the material over the course of the biennale. Liu’s sculptures resemble both industrial and organic forms: the substructure of machinery or the skeleton of a disappeared organism. Blooming when pristine, the sculptures slowly wilt and decay, prompting reflections on what will emerge in its place. Examining the afterlives of materials and infrastructures left in the wake of the vanished sea, Liu’s work offers a speculative and practical model to think through impossible scenarios. The work takes its cue from an episode in the history of the Aral Sea. In 1847, Russian ships were transported in pieces across the steppe and reassembled in an inland basin with no outlet to any ocean. They were, in a sense, born into a sea from which there could be no departure. Liu’s sculptures inhabit a similarly closed system, though here the movement is not towards construction but towards undoing. As the plastic is broken down into its molecular constituents, what seemed durable and self-contained is returned to a more uncertain state, caught between technological persistence and biological transformation. </column-unit></column-set> https://freight.cargo.site/t/original/i/L3000329870491476514126211609251/Xin-Liu--Born-to-Sea-2026-2.-Exhibited-in-_The-Aural-Sea.jpg https://xinliu.art/new-york 2026-07-02T12:03:04+00:00 always 0.5 https://freight.cargo.site/t/original/i/Q2186180803978882386741354328739/The-Permanent-and-Insatiable_-Houston-2024--Model-Examples--Courtesy-of-the-Xin-Liu-Studio-LTD--London.-_-2024----CREDIT-00003-1.jpg The Permanent and the Insatiable: New York at Management, New York, 2025. Courtesy: the artist and Management, New York. Photo: installshots.art / Inna Svyatsky https://freight.cargo.site/t/original/i/J2251751949291220792763208987299/250306_XinLiu_5.jpg The Permanent and the Insatiable: New York at Management, New York, 2025. Courtesy: the artist and Management, New York. 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Artists in (their) Residence: Xin Liu - Queens Museum https://freight.cargo.site/t/original/i/I1795634552250484204653160740710/__CREDIT-_18.jpg https://freight.cargo.site/t/original/i/N1795639080778580347758406055782/_Noaa15-07222238_CREDIT-_5.jpg https://freight.cargo.site/t/original/i/R1795640502376912388185001342822/_Noaa18-07080130_CREDIT-_1.jpg https://freight.cargo.site/t/original/i/S1795641977544589218664134522726/_Noaa18-04212210_CREDIT-.png https://freight.cargo.site/t/original/i/K1795644683183882741865198696294/_noaa19-07072214_CREDIT-_4.jpg https://freight.cargo.site/t/original/i/K1795645692239230317851381643110/_noaa18-07080130_CREDIT-_2.jpg https://freight.cargo.site/t/original/i/O1795646802087587512586554619750/_Noaa18-04230008_CREDIT-.png https://freight.cargo.site/t/original/i/A1795647880059970947951622403942/_Noaa18-07282214_CREDIT-_5.png https://xinliu.art/earth-is-an-image- 2026-07-02T12:24:18+00:00 always 0.5 https://freight.cargo.site/t/original/i/N1788892620731159815812520899235/The-White-Stone_FIlm-Still_02.jpg 「The Earth is An Image」Loading Page, 2021 https://freight.cargo.site/t/original/i/P1798459886895384996737485944678/1200X630.jpg 「The Earth is An Image」Loading Page, 2021 https://freight.cargo.site/t/original/i/C1798467604883978228297915217766/Artboard-2.jpg https://freight.cargo.site/t/original/i/V1798467604976211948666462975846/Artboard-14.jpg https://freight.cargo.site/t/original/i/O1798467604902424972371624769382/Artboard-3.jpg https://freight.cargo.site/t/original/i/T1798467604920871716445334320998/Artboard-5.jpg https://freight.cargo.site/t/original/i/T1798467604570383579044852840294/Artboard-1.jpg https://freight.cargo.site/t/original/i/C1798467604957765204592753424230/Artboard-7.jpg https://freight.cargo.site/t/original/i/U1798467604939318460519043872614/Artboard-6.jpg https://xinliu.art/atlas 2026-07-02T12:24:18+00:00 always 0.5 https://freight.cargo.site/t/original/i/L1798854269170989334538517526374/2022-01-01-23-44-35-UTC_NOAA-19.png https://freight.cargo.site/t/original/i/T1798854268857394685285455148902/2022-01-01-02-03-53-UTC_NOAA-18.png https://freight.cargo.site/t/original/i/Y1798854269152542590464807974758/2022-01-01-13-20-27-UTC_NOAA-18.png https://freight.cargo.site/t/original/i/L1798855542992454600477894817638/2022-03-08-00-21-23-UTC_NOAA-19.png Atlas, 2022 https://xinliu.art/seeing-through-the-eyes-of-gods,-you-have-mistaken-yourself-for-him-1 2026-07-02T12:24:18+00:00 always 0.5 https://freight.cargo.site/t/original/i/Z1964639433655524758942835324774/Open-Sky--installation-view--Benton-Museum-of-Art-at-Pomona-College--August-15--2024-January-5--2025.-Photo_-Jeff-McLane..jpg Seeing through the Eyes of Gods, You Have Mistaken Yourself for Him, 2024 https://freight.cargo.site/t/original/i/O1964640676486459981050165901158/Open-Sky--installation-view--Benton-Museum-of-Art-at-Pomona-College--August-15--2024-January-5--2025.-Photo_-Jeff-McLane.-5.jpg Open Sky, installation view, Benton Museum of Art at Pomona College, August 15, 2024-January 5, 2025. Photo_ Jeff McLane. https://freight.cargo.site/t/original/i/W1964640676468013236976456349542/Open-Sky--installation-view--Benton-Museum-of-Art-at-Pomona-College--August-15--2024-January-5--2025.-Photo_-Jeff-McLane.-4.jpg Open Sky, installation view, Benton Museum of Art at Pomona College, August 15, 2024-January 5, 2025. Photo_ Jeff McLane. https://freight.cargo.site/t/original/i/N1964640676431119748829037246310/Open-Sky--installation-view--Benton-Museum-of-Art-at-Pomona-College--August-15--2024-January-5--2025.-Photo_-Jeff-McLane.-2.jpg Open Sky, installation view, Benton Museum of Art at Pomona College, August 15, 2024-January 5, 2025. Photo_ Jeff McLane. https://freight.cargo.site/t/original/i/S1964640676025291379207427110758/Open-Sky--installation-view--Benton-Museum-of-Art-at-Pomona-College--August-15--2024-January-5--2025.-Photo_-Jeff-McLane.-1.jpg Open Sky, installation view, Benton Museum of Art at Pomona College, August 15, 2024-January 5, 2025. 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thread, acrylic, ink, aluminum, LED lights, latex, and steel https://freight.cargo.site/t/original/i/X1798534345370057606119047870310/In-Motion--In-stillness-Fortune-Tellers_-Stray-2023--Courtesy-of-the-Artist-and-Make-Room--Los-Angeles-2.jpg Fortune Tellers: Stray (2023) Artist’s DNA data printed on rice paper, thread, acrylic, ink, aluminum, LED lights, latex, and steel https://freight.cargo.site/t/original/i/Y1798534925833753373537508570982/No-longer-remember--Fortune-Tellers_-Memory-2023--Courtesy-of-the-Artist-and-Make-Room--Los-Angeles-1.jpg Fortune Tellers: Memory (2023) Artist’s DNA data printed on rice paper, thread, acrylic, ink, aluminum, LED lights, latex, and steel https://freight.cargo.site/t/original/i/K1798534981413793267624387589990/No-longer-remember--Fortune-Tellers_-Memory-2023--Courtesy-of-the-Artist-and-Make-Room--Los-Angeles-2.jpg Fortune Tellers: Memory (2023) Artist’s DNA data printed on rice paper, thread, acrylic, ink, aluminum, LED lights, latex, and steel 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gold, and steel https://freight.cargo.site/t/original/i/P1798537043114144665772423952230/What-you-seek--what-you-get--Fortune-Tellers_-Horoscope-2023--Courtesy-of-the-Artist-and-Make-Room--Los-Angeles-2.jpg Fortune Tellers: Horoscope (2023) Artist’s DNA data printed on rice paper, thread, acrylic, ink, aluminum, LED lights, latex, 24K gold, rose gold, and steel https://freight.cargo.site/t/original/i/L1798537042634529319855975610214/What-you-seek--what-you-get--Fortune-Tellers_-Horoscope-2023--Courtesy-of-the-Artist-and-Make-Room--Los-Angeles-1.jpg Fortune Tellers: Horoscope (2023) Artist’s DNA data printed on rice paper, thread, acrylic, ink, aluminum, LED lights, latex, 24K gold, rose gold, and steel https://freight.cargo.site/t/original/i/X1798537368182668732682142529382/What-you-seek--what-you-get--Fortune-Tellers_-The-Spider_s-Trap-2023--Courtesy-of-the-Artist-and-Make-Room--Los-Angeles-1.jpg Fortune Tellers: The Spider’s Trap (2023) Artist’s DNA data printed on rice paper, 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