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Will They Sing Like Raindrops or Leave Me Thirsty (SIGNED)

Max Pinckers
Will They Sing Like Raindrops or Leave Me Thirsty (SIGNED)

Photographs by Max Pinckers

Text by Hans Theys

Design by Jurgen Maelfeyt

Self published, 2014

Edition of 1,000 copies


232 pp., 165 illustrations

210 x 290 mm

Item #0273

1.100 0273 Sold Out

Selected as one of the Best Books of 2014 by Laia Abril, Tom Claxton, Alec Soth, Nicoló Degiorgis, Tomoki Matsumoto, TIME

Photographic Museum of Humanity Grant 2014 - First Prize | Aperture Portfolio Prize 2014 - Runner-up

“In Max Pinckers’ brilliantly rendered photographs, all the world’s a stage and Pinckers is the stage director. But like the best theater, what matters in Pinckers’ pictures isn’t the technique behind the theatrics, but the comic drama of humanity." - Alec Soth 

For his most recent work, Max Pinckers (born in Belgium in 1988, but raised in Asia), traveled to India for four months, accompanied by his partner Victoria Gonzalez-Figueras. There he has attempted to document, capture, stage and bring to life various specific aspects of love and marriage. Searching through newspapers and magazines, watching films and roaming through cities, he has been looking for subjects that suited his theme, such as couples on their honeymoon at the foot of the Himalayas, men on white horses, Victoria’s (carts on which newlyweds strut around), photo studios where couples have their por- traits taken, strange decors for marriage ceremonies, a stranded photograph of a married couple (which is offered to a river, lake or sea after their death), a set of discarded photos from a studio next to the Taj Mahal and many other things. He also made pictures of ‘lovebirds’ (young lovers on the run from their disapproving families due to caste or religious differences) and the Love Commandos (an organization that protects and supports these young runaway couples and helps them get married and start anew).

Again we see beautiful images of people; some staged, some not. The shelter of the Love Commandos, for instance, which we recognize by the blue walled spaces: a confined space that is an ode to freedom. Often the beautiful- ly lit photographs contain an extra, unneeded reflecting flash, as a footnote, a signature, but also as a spatial photographic intervention. Despite his thorough documentation (that largely exists out of photos, be it found or made by amateurs, such as in the series Lotus), Pinckers searches for images that are devoid of recognizable elements. It is not the folklore that interests him, nor the differences between our cultures, but this universal search for the perfect image, for our understanding of beauty and kitsch, for our constricted forms of style, and for the emotions that all these images evoke nonetheless. Young couples that dream of a Bollywood elopement or a tradition that is degenerating into cookie-cutter romances... The way life and death disguise and reveal themselves in our relationship with images.

Read more: 

Emaho Magazine (review), The Photobook Review (review)

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