Max Pinckers is someone who I greatly admire. I have been friends with him nearing a decade now and I have been able to watch his rise in the international community. It has been fascinating to watch his growth particularly as it relates to the refutation of generalized ideas about documentary practice in the post-truth era. Max questions our response to photography through his books, his exhibitions and his intellectual pursuit of his phd. He is adding to our common discussion about the medium, but also about the times in which we live. His relative youth and passion for dialogue are two traits of his success.
In our conversation we discuss many different topics and most of his books. Our longer rumination about his work Controversy with Sam Weerdmeester examines the historical system of beliefs attributed to Robert Capa’s contentious The Fallen Soldier in which the artists followed the historical analysis of the image and continue to question is plausibility.
We also discuss Max’s long-form body of work on the Mau Mau uprising and how the role of the artist functions while examining historical rule and atrocity.
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