Margins of Excess (2018)

Self-published by Max Pinckers

Softcover, 192 x 246 mm, 352 pages
Edition of 1500
ISBN 9789082465549

Design by Rudy Latoir and Max Pinckers

Printed by Stockmans, Belgium

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IBAN: BE18 7350 3512 1765

With the support of the Edward Steichen Award Luxembourg, the International Studio & Curatorial Program residency in New York and Vlaamse Regering Kunsten & Erfgoed. Max Pinckers is affiliated as a researcher to KASK / School of Arts of University College Ghent. Margins of Excess is part of his research project financed by the Arts Research Fund of University College Ghent, 2015-2021.

Charlotte Cotton on Margins of Excess
'Margins of Excess' is a very, very timely book, with Max's signature of drawing together photographic truth and fiction into a unsettlingly accurate experience of contemporary post-truth media. The book centers on (and interlaces) six American stories of media notoriety - strange, disturbing tales of idiosyncratic humans and their desires and attempts to publicly exist.
Charlotte Cotton, 10 April 2018

Featured on CNN
Pinckers, a one-time member of the Magnum photo agency, said he set out to discover if it is possible to photograph this "hyper-individualized" new era in America, where people like Dolezal have created an internal reality that is entirely at odds with what the rest of the world sees.
Matthew Ponsford, CNN International, 22 March 2018

Margins of Excess: A new photographic essay by Max Pinckers
‘Margins of Excess’ is spun around the stories of six people who momentarily received nationwide attention in the US press because of their attempts to realize a dream or passion, but were treated as deceivers. In general, Pinckers is attracted to subjects that evoke the magic of imagination but simultaneously reveal the impossibility of an untainted personal dream: time and again we discover that the words and images we use to define ourselves have been unconsciously borrowed from others, from the past, from books, paintings, the internet or the media.
Hans Theys, Montagne de Miel, 11 November 2017

Interview in BRUZZ
Because it is not really about Rachel Doležal or Darius McCollum, their conflict, and their rise and fall, but about identity and perception. “All of the photos and texts are peppered with motifs like apparitions, weeping Marys, UFOs, or threatening white vans. Or with staged pictures of people mourning; photos that we took with actors in New York and in Los Angeles. These sorts of images have become conventional in photo journalism. They are pictures that we see over and over again after something has happened, because they are powerful and moving pictures with which readers immediately identify.”
Kurt Snoekx, BRUZZ, 30 December 2017