Max de Esteban

Max de Esteban is an artist working mostly in photography and video whose work is best known for his examination of the human condition under a technological regime.
His projects have been exhibited at museums and institutions including NRW-Forum in Dusseldorf, Museum of Fine Arts Houston, XIII Bienal de La Habana, Deutsche Technik Museum in Berlin, Virreina Centre de l’Imatge in Barcelona, XIII Cairo Biennale, CGAC in Santiago de Compostela, Staatliche Museum für Fotografie in Berlin and Palais de Tokyo in Paris.
His work has been the subject of four monographs: Twenty Red Lights (La Fábrica, 2017); Propositions (La Fabrica, 2015); Heads will Roll (Hatje Cantz, 2014) and Elegies of Manumission (Nazraeli, 2012) and is part of museums’ collections such as Museum of Fine Arts Houston, Staatliche Museen–Museum für Fotografie in Berlin, Museu de Arte Moderna do Rio de Janeiro, SEDF in Bratislava, Deutsche Technik Museum in Berlin and Wifredo Lam in La Habana.
De Esteban holds a BsC in Engineering from Universidad Politécnica de Cataluña, an MBA from Stanford University and a PhD in Economics and Business from Ramon Llull University. He is a Fulbright Alumnus. 
De Esteban's work is organized in three distinct bodies: "Elegies of Manumission", "Propositions and Infrastructures of Modernity."
"Elegies of Manumission" and "Propositions".
"Elegies of Manumission", produced between 2009 and 2011, raises social and political questions through symbolic portraiture. Challenging post-modernist visuality, the artist proposes an expressionistic photography. Counterposing the cool, detached individual prototypical of post-modernity, De Esteban presents the baroque, hybrid and de-centered contemporary personality. The series was published as a monograph by Nazraeli Press and was exhibited in Fotofestiwal in Poland, where was awarded with the Jury's Special Award (2010), and in the Center of European Photography in Bratislava (2012), among many others.
"Propositions," initiated in 2011, deal with contemporary art and political issues reflecting upon the human condition under a technological totality. What all the Propositions series have in common is the effort to critically assess contemporaneity through the exploration of technology and photography’s ability to renew its symbolic potency. As the artist recently said: "We are living extraordinary times. And fighting for the renewal of photography’s iconic force is to fight against the temporality of a capitalist economy that erases the past and, by doing so, eliminates our instruments for critique."
The series that belong to it are: "Only the Ephemeral, The Collection, Touch me Not, Heads will Roll, Binary Code" and, the latest still in process, "Elements of Geometry". 
"Propositions" pose uncomfortable questions. In "Proposition One," translucent X-ray images magnify mechanical devices that have become outdated, although they continue to function perfectly according to their purpose. In "Proposition Three," de Esteban examines the cold, gray inner life of cell phones or tablets and the increasing enmeshment of the body and digital technology.
In "Heads Will Roll," Proposition number four of the series, he uses seductive photo collages made of film stills, flower photos, and fragments of text to convey the essence of the parameters that are penetrated by the postmodern patchwork of our lives. The media define everyday life: we are permanently made to feel insecure by the wars and disasters that are always happening in the world; the individual is in danger of drowning in the masses; genuine and fake have become almost indistinguishable; and a vague fear of the East pervades political policy. Reality is largely conveyed as a media experience. "Heads will Roll" was listed as a photobook of the year by LensCulture magazine; its New York exhibition was shown on the cover of "Photograph Magazine" in its September–October, 2015 issue (Volume 13, Number 1); and Artslant said it was a "must see exhibitions in North America"
Propositions next project was "Binary Code" (2015), a series that deals with the symbolic end of humanism and its relation to digital materiality. "Binary Code" has been exhibited in Mirbach Palais in Bratislava in 2017, Pingyao International Photography Festival in 2017 and Klompching Gallery in New York in 2018. 
"Infrastructures of Contemporaneity".
In 2016, and in parallel with Propositions, Max de Esteban engaged in a second long-term project under the concept of Infrastructures of Contemporaneity. As the 20th century cannot be understood without taking into account the "infrastructures" that made it possible, De Esteban long-term project pretends to identify those that will be key in the understanding of the 21st century and unveil their ideological nature. For the purpose of the project, infrastructures are defined as "the key technologies, systems and physical conditions that enable the circulation of meaning and power".
The first series of the project is "Twenty Red Lights" (2016). Its objective is to unveil the implications of economy’s digital financialization and its relation to the radicalized neoliberal agenda. Finance is the key technology for the allocation of economic resources and as such, is the infrastructure that determines capitalism’s priorities. Deciding on the allocation of investment implies governing the frontiers of research and innovation, it means constructing the future. Financial capitalism should be the proper place to start any critical assessment of contemporaneity. "Twenty Red Lights" consists of a video and three series of 20 photographs each. It also includes a book published by La Virreina/La Fabrica with essays by Franco Bifo Berardi and Michel Feher. This project has been exhibited in La Virreina Centre de L'Imatge (2018), XIII La Habana Biennale (2019) and CGAC- Centro Gallego de Arte Contemporánea (2019).
The latest series of this ongoing project is "A Forest" (2018). A Forest reflects upon the implications of Artificial Intelligence technology and the ideological frameworks under which it operates. Its focus is not the technology itself or its aesthetic imaginary, instead it is the exploration of the social values at stake due to the potential dominance of this digital infrastructure and the ideology behind its leading investors. The series consists of a video and 21 photographs. It was exhibited at the XIII Cairo Biennale in 2019.