About Trigger

Proposals for online contributions to Trigger?

We are open to contributions which are critical, essayistic, comparative and strive for overall insight in tendencies and practices and as such go beyond the confines of simply reviewing specific current exhibitions. We also look forward to publish responses to previous published essays and other contributions.

Don’t hesitate to contact Tom Viaene, coordinator publication platform, at

Editorial team Trigger

Coordinator: Tom Viaene

Editors: Tamara Berghmans, Rein Deslé, Joachim Naudts, Ingrid Leonard, Bram Van Beek

Final editor: Paul Carlucci

Designer (the printed thematical issues of Trigger): Hans Gremmen/Fw:Books (Amsterdam)

Call for proposals witrand

Currently we are preparing Trigger #2: Uncertainty which will appear in its printed version in the first week of November 2020. This issue deals with the normative potentials of the speculative in documentary photography, film and visual arts. With essay contributions by, among many others, Duncan Forbes, Liz Orton, TJ Demos and Steven Humblet. Artist contributions by, among others, Hoda Afshar, George Senga, Max Pinckers and Chao Maina. Trigger #2: Uncertainty is a collaboration between FOMU (Antwerp), The School of Speculative Documentary (An van. Dienderen, Max Pinckers, Michiel De Cleene, Rosine Mbakam, Thomas Bellinck) and Fw:Books (Amsterdam).

Trigger is a non-academic publication and wants to stimulate writers/researchers/artists who are interested in delivering contributions that provoke and touch a wider public (debate). It looks forward to a variety of disciplines, perspectives and practices that reconsider the challenges of the documentary in our current conditions. This could go from computational photography, to curatorial practices, to crossovers with popular culture, to collection studies, to observational documentary, to artivism, to queer writing etc. We basically welcome essays, but also interviews, sharing PhD research and artist contributions. Contributors are asked to be attentive to the role played by issues of race, gender, class, and geopolitical location in determining how the speculative is experienced, practiced, and controlled.

Guest editor of Trigger #2: The School of Speculative Documentary: Thomas Bellinck, Michiel De Cleene, Rosine Mbakam, Max Pinckers, An Van. Dienderen (KASK / School of Arts, Ghent)

General mission Trigger

Trigger publishes (longread) essays, interviews, opinions, new gazes, and opens up research to the broader publi

  • It invites writers, photographers, thinkers and readers both to reflect on new perspectives in photography and to revisit relevant exhibitions, practices and images from the past from new angles.
  • It aims to make connections and strives to critically reflect on photography in and outside institutional contexts.
  • It opens up debate by disclosing photography collections and archives and making artistic research available to different publics.
  • It stimulates and develops critique through photography, in relation to the arts, sciences, religions and different visual cultures.

Trigger is a new publication platform concerning photography, which originates from and is supported by FOMU, the museum of photography in Antwerp, Belgium.

Trigger is published entirely in English, both as an online platform and an annual printed publication in collaboration with Fw:Books (Amsterdam)

Trigger nr.1: Impact

The first printed issue on ‘Impact’ was made in close collaboration with The Royal Academy of Fine Arts (KABK), The Hague, The Netherlands, and guest editor Donald Weber, teacher and researcher at KABK.

This first issue deals with photography's 'impact', in different social and political contexts, in our current time joint and in the past. The core of this issue stems from the questions and concerns with which, the master programme ‘Photography & Society’ at the KABK already deals with; photography as a means to take part in global debate, whether it technological, political, environmental or social.

Three questions guide us through this issue on ‘Impact’:

  • Can we still assume photography’s (age-old) impact in an image-saturated world, where fake news, the questioning of representative democracy and the return of colonial pasts are engaging different political cultures, publics, action and pression groups?
  • How can photography function as a tool for environmental change?
  • What is the role of photographs in political debates?

These questions will be tackled from a photographer’s standpoint, but also from the position of the photograph itself or from the actors (mis)using photographic images to enforce (political) impact. In short, can (or should) photography have (such) an impact on our society.