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Winner of the Leica Oskar Barnack Award 2018 with Red Ink
The first prize of the highly prestigious Leica Oskar Barnack Award 2018 photography competition, main category, goes to Belgian photographer Max Pinckers for his series entitled ‘Red Ink’. In August 2017, at the height of tensions and the looming possibility of a nuclear war between the U.S. and North Korea, Max Pinckers traveled to Pyongyang on an assignment for The New Yorker together with his lighting assistant and an American journalist. During the four-day trip, they were strictly monitored and guided by government officials at all times, with every location diligently prepared before their arrival. Knowing that it would be impossible to reveal the reality behind the regime’s facade, Pinckers applied an aesthetic that refers to state propaganda and advertising, by using bold artificial lighting. This subversive approach reveals that these images are conscious of their own deceptive nature – lies that make us understand the truth – that we are looking at a manufactured version of reality according to the Kim regime.

Controversy on show at FOMU Antwerp: Collectie In Transit
Controversy (in collaboration with Sam Weerdmeester) is currently on show at the Fotomuseum FOMU Antwerp in the exhibition 'Collectie In Transit' until February 10th 2019. Controversy addresses the polemic of photojournalisms’ ethical credibility by engaging in the discussion surrounding Robert Capa’s Falling Soldier and confronting it with a scientific approach. Capa took his iconic photograph during the Spanish Civil War in 1936, capturing the very moment a soldier is shot in the head, making it one of the first images of war in action. The authenticity of this image has been questioned since its creation, although the story that accompanies it is simply too compelling to not be believed.

American Suburb X / 'Max Pinckers Interview: On Speculative Documentary'
Interview by Sunil Shah published on American Suburb X: In today’s altered conceptions of representation and self-representation, reanimation of analogue methods and accelerated digital technologies, platforms and cultures, within an information universe where truth and non-truth coexist, our understanding of image culture is being hugely tested and all this seems to be in full throttle now. It seems nowhere in this field has been subject to as many tensions and conflicts arising out of the medium’s evolving landscape as in the areas of photojournalism and documentary photography. Max Pinckers is a photographer and academic who has chosen to take the challenge of understanding this shifting terrain head on. His work, both in his personal projects and in his academic research is an attempt to advance our grasp of the genre with how a new critical language can be developed both visually and through discourse. I am honoured to have had a chance to talk with him about his work and his latest self-published title, Margins of Excess. In my opinion, Pinckers is not only pushing boundaries, experimenting and testing theories but leading a way forward in doing so.

Margins of Excess shortlisted for the Photo-Text Book Award 2018 at Les Rencontres d’Arles
Created 49 years ago, at the same time as the festival, the Book Award grants nowadays three categories of books, thereby contributing to the extraordinary development of photography publishing and to its wide distribution. The Photo-Text Book Award rewards the best book mixing images and texts, whether it is through the imbrication of the text in the image, the preponderant place of the writing within a model or a text supporting the photographic idea.




Recent online publications
Igigant / America’s Post-Truth Era, Captured By Max Pinckers
GUP Magazine / Margins of Excess & Red Ink
Revista Old / Max Pinckers: Margins of Excess
Huck Magazine / A photographer’s portrait of America in the post-truth era
American Suburb X / Max Pinckers Interview: On Speculative Documentary
British Journal of Photography / Max Pinckers tracks the Margins of Excess between truth and fiction
Libération / Le succès de l'imposture, vu par Max Pinckers
JOIA Magazine / Entrevista a Max Pinckers: “Quiero que la gente se plantee como las imágenes les hacen creer en algo que puede no ser verdad”
Yogurt Magazine / Margins of Excess by Max Pinckers
Clavoardiendo Magazine / Max Pinckers gana la primera convocatoria de GETXOPHOTO con Un trabajo sobre noticias falsas
It's Nice That / Private detectives and helium balloons: photographer Max Pinckers steps into five imagined realities
Collector Daily / Max Pinckers, Margins of Excess
C41 Magazine / Reality and fiction have become the same thing: the six stories of Max Pinckers
Witness: World Press Photo / The camera that produces perfect pictures
Leica Fotografie International / Pinckers trifft auf Bischof
The Heavy Collective / Q&A: Max Pinckers – Margins of Excess
PHmuseum / A Documentary about Imagination
CNN Stlye / How photographers use lies to expose the truth
Self Publish, Be Happy / Margins of Excess by Max Pinckers
BRUZZ Magazine / Max Pinckers: Deus ex Magnum
Rivista L'Espresso / Pyongyang, la vetrina di grattacieli e smartphone del regime nordcoreano
Revista Globo / Um retrato da Coreia do Norte como ela é: uma peça de publicidade
American Suburb X / Trophy Camera: A New Fear of Organizing Principals
The New Yorker / The Risk of Nuclear War with North Korea
British Journal of Photography / Book: Lotus by Max Pinckers and Quinten de Bruyn
Petapixel / This AI-Powered Camera Only Shoots ‘Award-Winning’ Photos
Co.Design / This Camera Silently Judges Your Photos Against The World’s Best
VICE Magazine / Met deze camera schiet je altijd een World Press Photo-waardig plaatje
Magnum Photos / Finding Your Documentary Photography Style
De Tijd / De realiteit bestaat niet
Polka Magazine / Après Hokusai et Jeff Wall, le Japon raconté par Max Pinckers
Collector Daily / Lotus, by Max Pinckers and Quinten De Bruyn
THISISPAPER / Max Pinckers: Two Kinds of Memory and Memory Itself
TIME Lightbox / Truth and Fictions in Everyday Japan
Creative Boom / New Blood. Superb works from some of the world's best emerging photojournalists
Aperture / From the Outside In by Stanley Wolukau-Wanambwa
The Culture Trip / Max Pinckers: A New Approach To Documentary Photography
Rivista Studio / Love Commandos
Vice / Two kinds of Memory and Memory Itself
L’Oeil de la Photographie / 2015 Magnum Nominees: The Future of Photojournalism
Canvas / De Rebellen
TIME Lightbox / Magnum Photos Adds Record-Breaking Number of New Members
The New Yorker / Love in India
The Daily Observer / Chobi Mela: A carnival mood engulfs city
Paper Journal / Lieko Shiga’s RASEN KAIGAN | album, selected by Max Pinckers
Caravan Magazine / At First Sight
The Guardian / India’s Love Commandos – and the runaway couples they protect
Tasveer Journal / Book Review: Will They Sing Like Raindrops or Leave Me Thirsty
The Indian Express / A Song of Love
Financial Times / Self-publishing: DIY photography books are the rage
H-ART Magazine / Max Pinckers en Gauthier Oushoorn filmen hun tentoonstelling
Colin Pantall's blog / Documentary Photography and the Dinosaurs
Photobook Store Magazine / Control Order House by Edmund Clark, reviewed by Max Pinckers