Max Pinckers

Yokota's and Pinckers' Floating Worlds is a catalogue for an exhibition curated by Nicoló Degiorgis at fotoforum Gallery, Bolzano/Bozen, Italy, in May 2016.

The exhibition brings together Yokota’s Linger and Pinckers’ Two Kinds of Memory and Memory Itself, and is translated into a book by showing a selection of installation views. It is printed in two separate, but interwoven parts, held together by pages folded alternately into each other (presented in wrapping paper with a red handprinted linocut title block).

The concept for the exhibition was based on giving both artists the same amount and type of paper for their prints and an equal amount of wood for their respective exhibition structures. The photographs of each artist were printed on opposite fibre directions, allowing the presentation of the images to be determined by the curling of the prints. Max Pinckers’ work was mounted vertically, while Daisuke Yokota’s prints were suspended horizontally. No nails or adhesives were used in the exhibition.… (meer)

Red Ink was commissioned by The New Yorker for the article The Risk of Nuclear War with North Korea by Evan Osnos, September 18 issue, 2017 and supported by the Pulitzer Center on Crisis Reporting. Max Pinckers is affiliated as a researcher to KASK / School of Arts of University College Ghent. Red Ink was part of his research project financed by the Arts Research Fund of University College Ghent, 2015-2021.
In the resulting photographs, his lighting is complimentary yet forensic, scrutinizing the sheen of the propagandistic settings he visited during a trip that was heightened by the looming possibility of nuclear war.… (meer)