Max Pinckers
Biography
°1988, Brussels, BE
Lives and works in Brussels, Belgium.
Max Pinckers’ work contains diverse aspects, usually in the form of documentary
series in which stories are told through various image sequences using different photographic approaches. These images are poetic references to certain aspects within a defined documentary context, such as a toppled glass of milk that refers to visual tropes
from Bollywood films to suggest eroticism, or a folded dollar bill that conspiracy theorists believed had predicted the September eleven attacks. He also collaborates with other artists to make sculptural interventions on location to create new images. When the context of these images is removed, these works emerge as free abstractions that form new meanings in each other’s presence.
His works have been presented in institutions such as CENTRALE for Contemporary Art (Brussels), Museum of Contemporary Art (Kraków), Hamburger Kunsthalle (Hamburg), Foto Museum (Antwerp), and M HKA Museum of Contemporary Art (Antwerp).
Max Pinckers is represented by Gallery Sofie Van de Velde and Tristan Lund (London).


°1988, Brussels, BE
Lives and works in Brussels, Belgium.
Max Pinckers’ work contains diverse aspects, usually in the form of documentary
series in which stories are told through various image sequences using different photographic approaches. These images are poetic references to certain aspects within a defined documentary context, such as a toppled glass of milk that refers to visual tropes
from Bollywood films to suggest eroticism, or a folded dollar bill that conspiracy theorists believed had predicted the September eleven attacks. He also collaborates with other artists to make sculptural interventions on location to create new images. When the context of these images is removed, these works emerge as free abstractions that form new meanings in each other’s presence.
His works have been presented in institutions such as CENTRALE for Contemporary Art (Brussels), Museum of Contemporary Art (Kraków), Hamburger Kunsthalle (Hamburg), Foto Museum (Antwerp), and M HKA Museum of Contemporary Art (Antwerp).
Max Pinckers is represented by Gallery Sofie Van de Velde and Tristan Lund (London).
Selected Exhibitions |
|
2021 | 'How to Win at Photography – Image-Making as Play', Fotomuseum Winterthur, Winterthur, CH |
2020 | 'Margins of Excess', Robert Morat Galerie, Berlin, DE |
2019 | 'Margins of Excess', Belfast Exposed, Belfast, UK |
2018 | 'Tea Ceremony and Flower Arrangement', IBASHO Gallery, Antwerp, BE |
2017 | 'Wordswordswords', Gallery Sofie Van de Velde, Antwerp, BE |
2016 | 'Identity as a ™', Stadstriënnale Hasselt, BE |
2015 | 'Picture This: Contemporary Photography and India', Philadelphia Museum of Art, Philadelphia, USA |
2014 | Aperture PhotoBook Award, IMA Gallery, Tokyo, JP |
2013 | 'Indomania', europalia.india, Bozar - Centre for Fine Arts, Brussels, BE |
2012 | 'Mamihlapinatapai', De Brakke Grond, Amsterdam, NL |
Bibliography
2016 | Lotus, Max Pinckers, published by Lyre Press in May 2016 and introduced at PhotoBook Bristol |
2014 | Will They Sing Like Raindrops or Leave Me Thirsty, Max Pinckers, self published photobook, Belgium, ISBN 978 9 0819 71515 |
2013 | Rheum, published by De Bedoeling & foundfootage.be, Belgium, ISBN 9789080227408 |
2012 | The Fourth Wall, Max Pinckers, self published photobook, Belgium, ISBN 978908197150, special editions available |
2012 | Mamihlapinatapai, Max Pinckers & Michiel Burger, self published photobook, The Netherlands |
Artworks

Max Pinckers
Preaching to the Choir (from the series Margins of Excess), 2018
Pigment prints on archival matte paper 280 gsm
76,1 x 93 cm

Max Pinckers
Margins of Excess (from the series Margins of Excess), 2018
Pigment prints on archival matte paper 280 gsm
152 x 125 cm

Max Pinckers
Performance #1 (From the series Margins of Excess), 2018
Print, plexi-box frame
93 x 76,1 cm

Max Pinckers
The Arrest (From the series Margins of excess), 2018
pigment prints on archival matte paper 280 gsm
50 x 41 cm

Max Pinckers
J.J. Ames (from the series Margins of Excess), 2018
Print, plexi-box frame
93 x 76 cm

Max Pinckers
Entertainment Lite (from the series of Margins of excess), 2018
Pigment prints on archival matte paper 280 gsm
41 x 50 cm

Max Pinckers
Make it real (from the series Margins of excess), 2018
Pigment prints on archival matte paper 280 gsm
44 x 36 cm

Max pinckers
State of Affairs, (from the Series Margins of Excess), 2018
Pigment prints on archival FibaPrint® White Matte 280gsm photo paper
152 x 125 cm

Max Pinckers
People Exiting the Metro at Yonggwang Station, Pyongyang, North Korea, 2017 (from the series of Red ink), 2018
Pigment print on archival matte paper 260 gsm
60 x 90 cm
edition 1/5

Max Pinckers
Table Tennis Equipment at Kobangsan Guesthouse, Pyongyangred, North Korea, 2017 (from the series Red Ink), 2018
Pigment print on archival matte paper 260 gsm
33,4 x 50 cm
Edition of 5

Max Pinckers
Mother and Daughter at the Rungna Dolphinarium, National Liberation Day (Aug. 15) Pyongyang, North Korea, 2017 (from the series Red ink), 2018
Pigment print on archival matte paper 260 gsm
60 x 90 cm

Max Pinckers
After - School Chemistry Class Students at Pyongyang Orphans' Primary School , Pyongyang (from the series Red Ink), 2018
Pigment prints on archival FibaPrint® White Matte 280gsm photo paper
33,5 x 50 cm

Max Pinckers
Souvenir Shop Assistant, Pyongyang, North Korea, 2017 (from the series Red Ink), 2018
Pigment print on archival matte paper 260 gsm
50 x 33,5 cm

Max Pinckers
People Enjoying a Barbecue at Korea Central Zoo, National Liberation Day (Aug. 15), Pyongyan, North Korea, 2017 (from the series Red ink), 2018
Pigment print on archival matte paper 260 gsm
60 x 90 cm

Max Pinckers
View on South Korea from the Balcony at the DMZ, North Korea, 2017 (from the series Red Ink), 2018
Pigment print on archival matte paper 260 gsm
33,5 x 50 cm

Max Pinckers
From the series Lotus, 2011
Pigment print on archival baryt paper 285 gsm

Max Pinckers
From the series Lotus, 2011
Pigment print on archival baryt paper 285 gsm

Max Pinckers
From the series Lotus, 2011
Pigment print on archival baryt paper 285 gsm

Max Pinckers
From the series Lotus, 2011
Pigment print on archival baryt paper 285 gsm

Max Pinckers
From the series Lotus, 2011
Pigment print on archival baryt paper 285 gsm

Max Pinckers
Supplementing the Pause with a Distraction (From the series The Fourth Wall), 2012
Archival pigment print mounted on dibond
130,7 x 107 cm
(Framed)