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, MACBA in Barcelona, 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