Maxime Christiaensen (° 1989) is as much an artist as he is a brand. His works seem devoid of human touch, resistant to any kind of organic interference. They are the result of an intricate production process involving specialised equipment, chemical processes and state-of-the-art technology. Simple geometric volumes, mostly composed of synthetics or steel, are coated creating a thin, colourful, shiny film over the object. Christiaensen’s refined sculptures contain a clinical, cosmetic kind of beauty that is close to the Futuristic cult of the machine and the glorification of speed.
Metamodernism would be a suitable label for his work, understood as an avant-garde in overdrive. Maxime Christiaensen deliberately chooses to embrace the promise of full automation and endless mechanical reproduction, thus also questioning the value of creative labour within our late-capitalist, postindustrial society. Machines, as Thierry De Duve noted, are constant capital. They don’t work and therefore don’t produce value. Is the artist’s position one of sincere engagement or ironic detachment? That question misses the point – it’s definitely both at the same time. [Pieter Vermeulen]
His works have been exhibited at Error One Antwerp and Error One Brussels.