Max Blotas (b. 1993) is a multimedia artist based between London and Paris
His work addresses the relationship of landscapes and communication technologies through self-sustaining digital and biological networks.
Max Blotas’ installations often take the form of hybrid ecosystems using electronic equipment mixed with organic life forms. He creates interconnected computer-controlled environments located inside industrial containers and surrounded by a technological landscape of digital devices and motorised sculptures. The miniature sets inside the boxes are continuously monitored using digital surveillance technologies and transmitted live onto remote displays. The image reveals shifts in human perspective and makes tangible parallels between digital content and the surrounding reality.
The subjects inside the network are constantly being distorted by an assemblage of causal links, retroactions, multiplicity of scales and loop effects generated by computer. These physical shifts allow the viewer to render the tangible infrastructure of the network, by exposing the multitude of realities and micro events that take place simultaneously within.
During the exhibition (Nor sad or glad the bouncer can’t read it all, and remember that your body comes first, for old love at bubble rock & crappy creek, take me home spinning blossom it might not last ) that is taking place in London throughout June 2020 Max Blotas installation has been in constant evolution. Water is pumped and transferred from outdoor reservoirs to several clusters of environments controlled by a computer. By analysing environmental sensors, algorithms trigger devices and sets of loops in an attempt to sustain life within the artificial landscapes contained in the installation. Bacteria and weeds have been slowly invading the juxtaposed sets, see through crates stacked on top of each other. A tree-like robotic structure, that stands in front of the outdoor access where the water enters, is symbolic of a human figure, slowly splashing water with a motorised leaf. The work operates on differing parallel time frames and by geographic shifts throughout the exhibition. A network of cameras stream at different rates transmit scenes from inside the boxes to on an online platform. These moving images, consequences of the autonomous system, produce and reveal their own soft realities through pixelated windows of tension.
Slade School of Fine Art, University College London (UK)
MFA in Sculpture
École Nationale des Beaux-Arts de Paris (FR)
Fine Arts BA
Université de Strasbourg/ Université Toulouse II Jean Jaurès
Prizes, scholarships or awards
Thaddaeus Ropac Prize (Prix des Amis des Beaux-Arts)
Nancy Balfour Trust Scholarship
Kenza Fondation (Institut de France) Scholarship
Nor glad or happy the bouncer can’t read it all and remember that your body comes first, for old love at Bubble Rock and Crappy Creek take me home spinning blossom it might not last / POOL PARTY (solo show)
Danby Street, London (GB)
Sly Composition (group show c. by Camille Lemille)
ISELP, Brussels (BE)
Fantôme + AAVE (group show c. by Cesar Kaci & Aliha Thalien)
Le Medicis Gallery, Paris (FR) and Vapaan Tailen Tila, Helsinki (FI)
Elephant Paname, Paris (FR)
Exposition des Lauréat des Amis des Beaux-Arts (group show c. by Marine Delveno)
Gallery Agnes b., Paris (FR)
Décadence (group show c. by Double Séjour)
Fanklin Azzi, Paris (FR)
Taches Aveugles (group show curated by Chedly Atallah)
La Maréchalerie, Versailles (FR)
CLIMAX (solo show)
Atelier Saulniers, Beaux-Arts de Paris, Paris (FR)
Ratafia (group show c. by Chedly Atallah)
Collectif 23, Paris (FR)
Didascalie (group show c. by Camille Lemille)
R2D2, Brussels (BE)
Détours Numériques (group show)
Chapelle, Valaurie (FR)
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