Image: FOMU Photo Museum Antwerp, Antwerp
FOMU Photo Museum Antwerp is opening 'tiff 2026' with a focus on emerging Belgian photography, presenting work by 10 photographers and artists who live or work in Belgium. The exhibition runs from 26 June to 23 August 2026, and FOMU describes the annual project as a platform for supporting new talent through an exhibition and accompanying magazine.
According to the museum, 'tiff 2026' brings together Chloé Azzopardi, Téo Becher, Aliki Christoforou, Yaqine Hamzaoui, Tatjana Huong Henderieckx, Simen K. Lambrecht, Tom Lyon, Natalie Malisse, Anthony Ngoya and Darwin Taday Cabrera. The museum says the initiative offers a fresh view of contemporary Belgian photography and is designed as a flexible programme that responds to the needs of emerging photographers.
FOMU states that the selected artists are included not only in the exhibition but also in the magazine, and that the programme also includes networking opportunities with international professionals and coaching sessions. The magazine is available in the FOMU shop for 7 euros. The exhibition page lists support from Walufin N.V.
For the 2026 selection, FOMU worked with an external jury made up of Magali Elali, founder and artistic director of The Constant Now; Cale Garrido, curator of the Triennial of Photography Hamburg; and artist Youqine Lefèvre, who was part of 'tiff' 2021. FOMU says the project reflects the diversity and artistic energy of the Belgian photography landscape.
The exhibition is part of Futures, a European platform for photography, with support from the European Union’s Creative Europe programme. FOMU’s newsletter announcing the project also noted that the museum was opening free of charge for a short period because of the ongoing heat, and that a separate opening evening on 26 June would also mark the launch of Kelvin Haizel’s exhibition.
Haizel’s project, titled 'Material Revolts: Ecosystem against Empire', is presented separately at FOMU from 26 June to 23 August 2026. The museum says the Ghanaian artist looks microscopically at the photographic imagination of colonial history, using a 19th-century photo album from the FOMU collection as his starting point. That album contains 10 portraits of Congolese men, women and children shown in the human zoo at the 1885 Antwerp World Exhibition. In FOMU’s account, Haizel makes the bacteria, fungi and chemical processes in the old prints visible, reactivating the static images and letting them tell another story.
