[Max Bondu’s work] addresses themes and situations in a very direct manner with craft and sculptural work and using narrative means that often seem perplexing, strange, slightly absurd or enigmatic. They are not all grand pompous speeches about the world but more in the ‘case study’ category. A subject list of his works would include, for example, an abandoned cinema, chromatic experiments, the conquest of space and ideologies of progress (The Color of the Cosmos, 2015), the World Chess Championship 1972, research on telekinesis and the Cold War (The Remote Viewer, 2015), artificial intelligence (The Deep War, 2015), a bird ring, a falcon suspected of having been used by Mossad and a Turkish village (24311 Tel-Avivunia Israel, 2015), genealogical research on a particular type of pencil and forms of neoliberalism and ultra-capitalism (I, Pencil), typographical characters that have disappeared, the austerity policy and the decline and decay of the world economy (Before the Dawn, 2015), a stone carver and sculpted stars, supposed to refer to the deaths of CIA agents (The Stars on the Wall, 2014), octopuses and prophecies (Architeuthis, a Prophecy, 2014), an enormous map in book form that upsets the real proportions of an art institute (Macrotopographic Atlas, Palace of the Museums of Modern Art, West Wing, Level One, Recess of the Three Domes, 2013), electromagnetism and the nuclear apocalypse (History of a Pulse, 2013), electricity and entropy (The Bulb of Livermore, 2012–15) without forgetting androids, biotechnology and imaginary architecture (The Rosen Association, 2012–15), to give just a few examples.

Extract from Glances in the reflecting surface of the rear-view mirror, by Daniel Kurjaković