Documentaire
Documentary'Max Pinckers - Margins of Excess'
Following the exhibition of Max Pinckers in FOMU, VRT is showing the documentary 'Max Pinckers - Margins of Excess'. Watch Pinckers travel across the US and investigate the blurred line between fiction and reality in the US media.
Max Pinckers is a Belgian photographer. In 2016 he goes on a road trip through the US with his Canadian wife Victoria Gonzalez-Figueras, with the purpose to make photographs for a new book, 'Margins of Excess'.
The photographss with which Pinckers returns to Belgium months later seem at first sight spontaneous moments. A boy lying lifeless on the ground, in the middle of an abandoned street. An undertaker in front of an open coffin. Three long-haired teenagers on a fallen tree. The images immediately intrigue. But when you watch them more closely, you feel that something is not right.
The framing is too good. The composition is too right. And the light feels unnatural. In short: the whole scene seems staged. Which is the fact in most cases. Because almost every photograph byPinckers is often preceded by days of research. Or at least an intensive thought process.
(text: VRT)
Performance #1 (Los Angeles), from the series Margins of Excess, 2018 © Max Pinckers, courtesy Gallery Sofie Van de Velde
The Apple That Wasn’t, from the series Margins of Excess, 2018 © Max Pinckers, courtesy Gallery Sofie Van de Velde
Jay J. Armes, from the series Margins of Excess, 2018 © Max Pinckers, courtesy Gallery Sofie
Van de Velde
The Only Way To Predict The Future Is To Create It, from the series Margins of Excess, 2018 © Max Pinckers, courtesy Gallery Sofie Van de Velde
Exhibition Max Pinckers - Double Bind
until 13.03.2022 at FOMU
Can a photograph say something about the world we live in? Max Pinckers (BE, 1988) places photography under the microscope. He explores the boundaries of documentary and reveals its manipulative nature. His artistic response is “speculative documentary”, a blending of fact and fiction. FOMU presents the first retrospective to cover the past five years of Pinckers’ work.
