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From September 07–23, 2023



Man with two gloves and a hat © MaxOsiris
Exhibition organized by ZELECTRIC, curation space operating on different NFT platforms associated with a physical space, L'Avant Galerie Vossen, Paris.

Max Osiris is a pioneer. He started his Crypto Art journey in August 2018 with the first generation of crypto artists that are commonly referred to as “OGs”.
He quickly became one of the natural leaders of this nascent art movement with a strong voice in social networks.
He also was one of the first to organize a crypto art group show in Los Angeles in 2019, gathering the crypto art community, at that time very underground.
In 2020 he was one of the artists who were banned from the then dominant SuperRare Platform for being accused of producing art that did not conform to the standards of influential artists and collectors.
This event triggered an unprecedented support by a majority of the artists present in the space and can be considered as a pivotal moment in the construction of the crypto art movement, having also spawned the trash art movement, which was largely seen as a reaction to the bannings of artists from the Superrare platform.
Since then, Max has constantly remained on the forefront of Crypto Art, fiercely defending artists independence and refusing compromise with anyone trying to reproduce traditional art patterns in the Crypto Art realm.
He remains one of the few artists in the space to openly resist the influence of “whale” collectors and social network influencers.
By constantly and willingly taking the risk of being outcasted by dominant actors, he became the symbol of the edge of Crypto Art and contributes to preserve its ethos.
His digital collage and glitch signature is very recognizable and largely contributed to defining Crypto Art aesthetics.
He is extremely spontaneous in his art practice and is one of the first artists to fully embrace the “meme” culture, mixing it with dadaism.
His art is also a strong statement against rules governing the traditional art market as well as the cohabitation between art and brands, corporations and finance.

Selected artworks