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Fotomuseum Antwerpen - FOMU

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Fotomuseum Antwerpen - FOMU

Het FOMU - Fotomuseum Antwerpen biedt fotografie in al haar facetten.
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Fototentoonstellingen, rondleidingen, workshops, events, een eigen collectie en nog veel meer.

10/06/2026

The Kitchen Table Series is one of Carrie Mae Weems’ most celebrated works. More than 30 years after its debut, its themes remain strikingly relevant.

This fictional domestic melodrama unfurls around a wooden kitchen table where Weems (in the guise of her muse, or alter ego) is joined by lovers, friends, sisters, and daughters - choreographing a vibrant, if unsettled, social life. The images in this series chart the journey of the central couple from intimacy to estrangement.

Eventually, the setting witnesses the protagonist’s evolution: from heartbreak mediated by the women in her world, to motherhood and passing down secrets and knowledge, and, finally, to independent self-actualization, where the central character is alone and empowered - the source of her own amusement, strength, and pleasure.

The Kitchen Table Series affirmed Carrie Mae Weems’ authorial voice, beginning a career-long practice of inscribing her presence through physical, sonic, and symbolic gestures. Texts written by Weems to accompany the photographs focus on the courtship and dissolution of the central romance. The images and texts rarely overlap, amplifying the inconsistencies and reframings intrinsic to storytelling and, ultimately, suggesting the gap between interiority and outward appearance.

Carrie Mae Weems - The Heart of the Matter
On show at FOMU until 23 August
Info & tickets: fomu.be

The Heart of the Matter, curated by Sarah Hermanson Meister, is a project by museum of Intesa Sanpaolo, in collaboration with

Image: Carrie Mae Weems, Untitled (Man and mirror), 1990; from the Kitchen Table Series; from Carrie Mae Weems: The Heart of the Matter (Aperture, 2025). ©️ Carrie Mae Weems and reproduced courtesy the artist and Gladstone Gallery, New York, Fraenkel Gallery, San Francisco, and Galerie Barbara Thumm, Berlin

05/06/2026

.TIFF 2026 | FOMU is proud to present the artists that are selected for .tiff 2026:
Chloé Azzopardi, Teó Becher, Aliki Christoforou, Yaqine Hamzaoui, Tatjana Huong Henderieckx, Simen K. Lambrecht, Tom Lyon, Natalie Malisse, Anthony Ngoya and Darwin Taday Cabrera

Each year, through .tiff, FOMU supports ten up-and-coming artists and photographers who live or work in Belgium. In its exhibition and magazine, .tiff offers a fresh perspective on contemporary Belgian photography.
tiff reflects the Belgian photography landscape in all its artistic dynamism and diversity. The .tiff programme is a flexible pathway that responds to the needs of emerging photographers. For these artists it means: being part of the magazine and exhibition, opportunities to network with international professionals, and coaching sessions.

FOMU works together with an independent panel of experts to select the ten rising talents. This year the panel consists of , founder and artistic director of ; Cale Garrido , curator of the Photography Hamburg; and , artist and .tiff 2021 alumna.

Visit the exhibition .tiff 2026 Emerging Belgian Photography
from 26.06.2026 on show at FOMU
Opening Night: 25.06.2026 (free entrance)
tiff is part of a European photography network that supports emerging photography talent. Every year, Futures organises a number of networking events and exhibitions for young photography talent. Discover their full calendar on the Futures website. tiff magazine is for sale in the FOMU shop and online from 25.06.2026 (€7)

Images: Yaqine Hamzaoui, Chloé Azzopardi, Aliki Christoforou, Simen K. Lambrecht, Teó Becher, Anthony Ngoya, Natalie Malisse, Darwin Taday Cabrera, Tatjana Huong Henderieckx, Tom Lyon

03/06/2026

J U N E A T F O M U  Last chance to visit ’s exhibition, discover new work by in the Kaiserpanorama, join a tour, experience mindful art watching, attend portfolio reviews, and more.

Info & tickets → fomu.be

27/05/2026

All is not what it seems in this image. Or****ic Man (1969) is part of a triptych depicting men at different stages of sexual gratification. As in all his portraits, Peter Hujar approaches his models with tenderness and intimacy.

Hujar (US, 1934– 1987) focused his lens on q***r communities, creating intimate portraits of friends, artists and lovers. He worked exclusively in black and white and used sober backgrounds, creating the impression of physical closeness to his subjects through a subtle play of shadow and movement.

This image is part of the FOMU collection and currently on show at FOMU as part of the Families exhibition. For the exhibition ‘Families’ we’re diving into the FOMU collection in search of family photos. In a time when motherhood, the nuclear family and the idea of ‘chosen family’ are being hotly debated, this exhibition offers a surprising look at a topic that affects us all.

Families
now on show at FOMU
Info & tickets: fomu.be

Image: Peter Hujar, Or****ic Man, 1969/2021 FOMU collection 2021/59 ©️ The Peter Hujar Archive

20/05/2026

‘If revolution is an illness, I want to be sick, sick, sick!’

Imagine arriving in a completely unfamiliar land. A place where others determine when you are deemed to belong. How could you ever feel at home? This is the experience evoked by Diane Severin Nguyen in IF REVOLUTION IS A SICKNESS. Nguyen takes inspiration from political history and her own experiences of
diaspora.

In the film, we follow the coming-of-age story of Weronika Nguyen, a Vietnamese girl who literally washes ashore in Poland. We see her eating and training as a dancer, living a lonely existence. She must integrate to survive. Weronika joins a Polish dance group in Warsaw captivated by K-pop, the hugely popular Korean music genre. Does she need them or they her?

Diane Severin Nguyen makes work about identity, as well as the new forms propaganda can take. Is revolution in fact a process of ambiguity? Is it a youthful uncertainty that leads us to the streets, like a viral dance routine or the lyrics of a song?

Diane Severin Nguyen – IF REVOLUTION IS A SICKNESS
On show until 07.06.2026
Info & tickets: fomu.be

16/05/2026

Whilst this image may appear as an abstract painting, the series ‘Painting the Town’ consists of photographic close-ups of painted-over boards covering storefront windows. In response to public protests following the murder of George Floyd by police in Minneapolis in May 2020, business owners and police enforcement clad windows and door across the United States with plywood. This inadvertently provided surfaces for
resistance-based aesthetics of Black Lives Matter marches and demonstrations. The colored paint represents attempts to censor street art against racial violence, including slogans such as “I can’t breathe” and “No justice, no peace

“Everything was closed down. And the city responded by boarding up everything, from the courthouse to the public library to all of the businesses, all of the government agencies and city agencies. And then there was graffiti painted over all these things that had been boarded up by the protesters. And then the governor of the city, the mayor of the city, sent out a team of painters to paint all over the graffiti that had been applied to these walls” – Carrie Mae Weems

Weems confronts the systemic mechanisms of power that erase, silence, and conceal Black identities and perspectives in the public sphere. Through her
deliberate choices in framing and printing, Weems emphasizes the aesthetic similarities of censorship in Portland and the geometric abstractions produced primarily by privileged male artists and thereby considers which forms of expression are
disproportionately sanctioned and controlled in the United States.

The Heart of the Matter, curated by Sarah Hermanson Meister, is a project by museum of Intesa Sanpaolo, in collaboration with

Carrie Mae Weems - The Heart of the Matter
On view at FOMU until 23 August
Info & tickets: fomu.be

Image: Carrie Mae Weems, Painting the Town #4, 2021; from the series Painting the Town; from Carrie Mae Weems: The Heart of the Matter (Aperture, 2025).
© Carrie Mae Weems and reproduced courtesy the artist and Gladstone Gallery, New York, Fraenkel Gallery, San Francisco, and Galerie Barbara Thumm, Berlin.

06/05/2026

“We are all connected by invisible rubber bands: to the people we call our family, the places we come from. The further we stretch those elastic bands, the more we feel them – they cut through our flesh, inhibit blood flow and almost reach breaking point before mercilessly catapulting us back to where we started. 

That’s what life seems to boil down to sometimes: you leave somewhere, you get pulled back. You don’t get away, you have to get away. You believe in the future, you believe in the past. Returning doesn’t seem possible, ever, everything changes, slips away, multiplies, disappears. Nothing remains, nothing ever stands still.”

Especially for the exhibition Families at FOMU, author Niña Weijers has written ten personal texts on the theme of family. In response to the photographs of Jitka Hanzlová, Weijers writes:

“Hanzlová’s photographs from her native village of Rokytník (in former Czechoslovakia) make all these contradictions palpable. She left there at 15, lived in Prague for a while, until she fled the communist regime in the early 1980s and was granted asylum in Germany. After the fall of the Wall, she returned to her native soil for the first time, with a camera in her hand – a lifeline, perhaps; a means to avoid drowning.  

The photographs are neither nostalgic nor ruthless. She presents neither a fantasy of a lost childhood nor a settling of old scores. Her gaze is gentle, not sentimental. The people are real, present. Sometimes they pose, but they are never trapped or distorted by the camera.  

I see Hanzlová’s tornness reflected in the people, the landscape, the colours, the light: she is no longer one of them, but neither is she is an outsider. There is a certain sorrow in that, but also joy. Perhaps this is the meaning of home, and love.”

Families
now on show at FOMU
Info & tickets: fomu.be

Text: Niña Weijers

Image: Jitka Hanzlová, Boy with shield, 1994 from the series Rokytník  1990-1999, Collection FOMU P/1999/35/10 ©️ Jitka Hanzlová

03/05/2026

“I discovered that I was the reference point, and the point of view, pointing the viewer toward the likes of me in history. Later, I understood this photographic self to be a muse and a guide into the unknown.”

For five decades, Carrie Mae Weems (US, 1953) has built an influential and multifaceted oeuvre that draws on personal experiences to address the major social issues of our time. Throughout her work, she explores the construction of power, race, class and gender..

In The Heart of the Matter, Weems assumes a central position as a muse and guide, appearing in many of her series herself. Her body acts as an anchor: a figure moving through time, leading the viewer into spaces shaped by inequality or, at times, unity. Sometimes she averts her gaze, at other moments she looks directly at the viewer. In each instance, she invites reflection on the structures that determine our ways of seeing, remembering and assigning meaning.

Carrie Mae Weems – The Heart of the Matter
Now on show at FOMU
Info & tickets: fomu.be

The Heart of the Matter, curated by Sarah Hermanson Meister, is a project by museum of Intesa Sanpaolo, in collaboration with

Image: Carrie Mae Weems, Welcome Home, 1978–84; from the series Family Pictures and Stories; from Carrie Mae Weems: The Heart of the Matter (Aperture, 2025). ©️ Carrie Mae Weems and reproduced courtesy the artist and Gladstone Gallery, New York, Fraenkel Gallery, San Francisco, and Galerie Barbara Thumm, Berlin

23/04/2026

RIP Suzy Embo
02.04.1936 – 22.04.2026

“Ik heb nooit echt nagedacht over wat ik wilde realiseren. Ik had lef en vloog er gewoon in.”

FOMU is triest het overlijden te vernemen van de in Antwerpen geboren fotografe Suzy Embo. Sinds 1996 heeft FOMU het volledige archief van Suzy Embo in zijn collectie, meer dan 50.000 stuks. Dat leidde in 2017 tot de retrospectieve ‘Suzy Embo. Artiste photographe, photographe d’artistes’, en tot een groot naslagwerk.

Embo’s werk balanceert voortdurend op de grens tussen ‘artiste photographe’ en ‘photographe d’artistes’. Haar vormexperimenten uit de jaren 1950 sluiten aan bij de Subjektive Fotografie van Otto Steinert en leveren haar verschillende expo’s op. In de jaren 1960 verandert haar werk door haar intense contacten met de naoorlogse avant-garde.

Door haar vriendschap met Cobra-kunstenaars zoals Pierre Alechinsky en Christian Dotremont en haar huwelijk met beeldhouwer Reinhoud d’Haese begint ze de kunstscène in beeld te brengen. Dat doet ze aan de hand van informele en intieme portretten, door hun creatieve processen vast te leggen in fotoreeksen en door vernissages, voorstellingen en events te documenteren.

Embo is een roekeloze fotografe. In haar typische filmische stijl fotografeert ze heel vluchtig, met weinig licht. Met haar kleinbeeldcamera maakt ze reeksen van wazige beelden met zware korrel en harde contrasten. Haar zwartwit-foto’s zijn ongekunsteld en spontaan.

Halverwege de jaren 1970 moet ze door een oogziekte noodgedwongen stoppen met professionele fotografie, maar ze publiceerde met Sionna nog een tijdlang een eigen kunsttijdschrift met bijdragen van de meest uiteenlopende kunstenaars.

Beelden:
- Portret Suzy Embo, ca. 1956 © FOMU / Suzy Embo
- Suzy Embo, L’île cassée de Pâques, 1956, P1996/655/28 © FOMU / Suzy Embo
- Suzy Embo, Pierre Alechinsky, jam session, La Bosse, 1969, P/1996/14 © FOMU / Suzy Embo
- Suzy Embo, Le Sacre du printemps (Igor Stravinski, choreografie Maurice Béjart), Opera de Paris, 1965, P/1996/16/34 © FOMU / Suzy Embo

18/03/2026

Who do you consider to be your family? And how do you record your personal history? For the exhibition ‘Families’ we’re diving into the FOMU collection in search of family photos.

Discover historical photo albums as well as photos by contemporary artists with a critical take on the traditional family portrait. These artists and photographers explore the complexity, and sometimes discomfort, of family relationships. They rewrite history with intimate photos, the likes of which you won’t often find in typical photo albums. A dialogue thus emerges between now and the past, between what we cherish and what we dare to question.

With more than 200 photographs from the FOMU collection by, amongst others: Diane Arbus, Cecil Beaton, Julia Margaret Cameron, Henri Cartier-Bresson, Lynn Cohen, Bieke Depoorter, Omar Viktor Diop & Lee Shulman, Robert Doisneau, Mayara Ferrão, Sunil Gupta, Peter Hujar, Mous Lamrabat, Bertien van Manen and more.

Families
20.03.2026 - 23.05.2027 at FOMU
Info & tickets: fomu.be
Festive Opening Night on 19.03.2026

Adres

Waalsekaai 47
Antwerp
2000

Openingstijden

Dinsdag	10:00 - 18:00
Woensdag	10:00 - 18:00
Donderdag	10:00 - 18:00
Vrijdag	10:00 - 18:00
Zaterdag	10:00 - 18:00
Zondag	10:00 - 18:00

Telefoon

+3232429300

Website

http://www.fomu.be/

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