Controversy and Trophy Camera v0.9 are on show at 'Reconsidering Icons', curated by David Campany, at the Museum Weltkulturen der Reiss-Engelhorn-Museen in Mannheim, will showcase contemporary works that employ various strategies to offer the audience a second glance at photographs we all think we know.
We are all acutely aware of the phenomenon of the iconic image. Newspapers and news websites regularly describe photographs as ‘iconic’. And if a photograph does become well known, news outlets are quick to capitalize by running secondary stories about its fame, which only serves to extend the image’s reach and cultural domination. It is an echo chamber of the image, and a hall of mirrors.
Of the billions of images in the world just a few have become iconic. The exhibition Reconsidering Icons contains no iconic images, and yet it is full of them. It draws together various projects from recent years that use strategies of remaking, revising and redefining. Some projects return to the site where iconic images were made. Some reconstruct them. Some track iconic images across their various media manifestations. Some use new technologies such as virtual reality and 3D modeling, to return us to images made in earlier epochs of photography. Whatever the strategy, the iconic image is approached as a complex form of cultural commons to be looked at critically, philosophically and playfully. If iconic images belong to the public imagination, we must have an imaginative relation to them.
Biennale für aktuelle Fotografie
Group Exhibition with Broomberg & Chanarin, David Claerbout, Joan Fontcuberta, Dries Depoorter & Max Pinckers, Max Pinckers & Sam Weerdmeester, Forum Internationale Photographie (FIP) & ZEPHYR – Raum für Fotografie in den Reiss-Engelhorn-Museen, Mannheim, Germany
February 29 – April 26, 2020

As part of PHOTO 2020 International Photography Festival in Melbourne Australia, Monash Gallery of Art presents 'Not standing still: new approaches in documentary photography', curated by Pippa Milne and Daniel Boetker-Smith. This exhibition focusses on rethinking the traditional ways of representing what the camera sees. Instead of straight documentation, these photographers have sought new ways to show pressing social and political issues, and in doing so are transforming photography itself. Artists: Mathieu Asselin (FR) Broomberg and Chanarin (SA/UK) Cristina de Middel (SP) Laura El Tantawy (EGPT) Yoshikatsu Fujii (JA) Ashley Gilbertson (AU) Gauri Gill (IND) Zhang Kechun (CHIN) Dana Lixenberg (NED) Max Pinckers (BELG) Raphaela Rosella (AU) Alec Soth (US) James Tylor (AU) Rajesh Vangad (IND) Harley Weir (UK).
23 April 2020 to 5 July 2020

Work from The Fourth Wall is featured in the new publication Photography in India: A Visual History from the 1850s to the Present by Nathaniel Gaskell & Diva Gujral, published by Prestel in February 2019. This book follows the remarkable story of photography in India from the 1840s to today. India has one of the richest and most extensive histories of photography in the world with the camera arriving in the country only a few years after its invention in Europe. Organized chronologically, this book covers over 150 years of photographs, divided into ten chapters which focus on themes and genres such as archaeology and ethnography, portraiture, photojournalism, social documentary, street photography, modernism, and contemporary art. An in-depth introduction and ten short essays contextualize the photographs in light of India's journey from colonial territory, to independent nation state, to global economic superpower, along the way suggesting new arguments as to how this has been reflected in photographic practice. Over 100 Indian as well as international photographers are included in this well-researched and engaging book that includes some of the country's most iconic images, alongside the work of lesser-known artists and a wealth of previously unpublished material.

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.

Nearest Truth Podcast / A conversation between Brad Feuerhelm and Max Pinckers
SPE-MNF / Max Pinckers's Presentation at the SPE-MNF Photography Education Symposium, Delhi, India, January 2020 on YouTube
Paola Rigamonti / Documenting Reality in the Digital Age
Aesthetica Magazine / Illusory Narratives: Interview with Sarah Allen
Museé Magazine / Triggered!: Max Pinckers
Leica Vietnam / Photography Talkshow 'Vision, Approach and Portfolio by Max Pinckers' on YouTube
Unseen Platform / Red Ink - Max Pinckers
LensCulture / Book Review: The Only Thing You Can’t Get Is Red Ink
photo-eye Blog / Book of the Week: Selected by Owen Kobasz
50mm Vietnam / Nhập môn ảnh bộ với Max Pinckers cùng Leica Vietnam
Female Magazine Singapore / Max Pinckers: The Artist Questioning What We Know Of Photography
The Westphoto Podcast / PISODE 11: Interview with Max Pinckers
Punto De Fuga / Max Pinckers, Palimpsesto, 2019
British Journal of Photography / Photo London 2019
Collector Daily / Max Pinckers, Red Ink
Scena 9 / Să fotografiezi minciuni, ca să înțelegi mai bine adevărul
Photolux Festival / Il Doppio Specchio Di Pinckers. Ambiguità Dell’immagine, Ambiguità Del Reale
Chosun / "아직도 궁금해요, 그날 평양은 과연 진짜였을지"
photo-eye / Best Books of 2018
AnOther Magazine / A Hyperreal Look at Everyday Life Inside North Korea
Leica Camera / LOBA 2018 Winner Max Pinckers
LensCulture / Margins of Excess
IGNANT Magazine / 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
FT Magazine / Self-publishing: DIY photography books are the rage
Colin Pantall's blog / Documentary Photography and the Dinosaurs
Photobook Store Magazine / Control Order House by Edmund Clark, reviewed by Max Pinckers