Katja Mater

𝙎𝙩𝙞𝙡𝙩𝙚 𝙖𝙡𝙨 𝙧𝙪𝙞𝙢𝙩𝙚 𝙫𝙤𝙤𝙧 𝙫𝙚𝙧𝙗𝙞𝙣𝙙𝙞𝙣𝙜 é𝙣 𝙖𝙡𝙨 𝙚𝙚𝙣 𝙫𝙤𝙧𝙢 𝙫𝙖𝙣 𝙫𝙚𝙧𝙯𝙚𝙩 𝗭𝗼𝗻𝗱𝗮𝗴 𝟯 𝗺𝗲𝗶 is het alweer tijd voor ons laatste programma in het kader van de tentoonstelling 𝘐𝘯 𝘍𝘳𝘦𝘲𝘶𝘦𝘯𝘤𝘪𝘦𝘴 𝘞𝘦 𝘊𝘢𝘯𝘯𝘰𝘵 𝘕𝘢𝘮𝘦: 𝘓𝘢𝘯𝘨𝘶𝘢𝘨𝘦, 𝘚𝘰𝘶𝘯𝘥, 𝘚𝘪𝘭𝘦𝘯𝘤𝘦. Met het programma 𝘚𝘪𝘭𝘦𝘯𝘤𝘦 onderzoeken we hoe stilte dient als ruimte voor verbinding, kennis en verzet. Het programma 𝘚𝘪𝘭𝘦𝘯𝘤𝘦 nodigt je uit om anders te luisteren. Om aanwezig te zijn zonder alles direct te willen begrijpen. In veel culturen leeft kennis niet alleen in woorden, maar ook in ritme, gebaren en gedeelde ervaringen. Niet alles hoeft volledig uitgelegd worden in gesproken woorden. Tijdens dit programma luisteren we naar 𝘛𝘸𝘰 𝘐𝘯𝘵𝘦𝘳𝘴𝘦𝘤𝘵𝘪𝘯𝘨 𝘓𝘰𝘰𝘱𝘴 𝘰𝘧 𝘚𝘪𝘭𝘦𝘯𝘤𝘦 van Katja Mater (@katjamater ) en wordt stilte hoorbaar: deze vinylplaat laat de tijd tikken, zonder opgenomen geluid. Alleen beweging, ritme en slijtage. De vertrouwde vinylplaat verandert in een soort instrumentele sculptuur die tijd letterlijk laat ronddraaien. 🎧🔈 Kom samen luisteren naar stilte en het tikken van de tijd 🕣🕙🕘🕦🕧🕥 Nieuwsgierig naar de rest van het programma? Dat houden we nog eventjes stil 😉 Zie je 3 mei? Lees meer via link in onze bio Dit programma is een samenwerking van Mu.ZEE Oostende ( @mu.zee ), curator @ritaouedraogo en de Brakke Grond (@brakkegrond )

In a recent essay curator and writer Filipa Ramos describes grief as a central affective condition of contemporary art: a lens through which we can rethink connection, presence, and the world itself. In their reflective and intimate essay for Trigger, curator and death doula Staci Bu Shea revisits Katja Mater’s year-long exhibition No Longer Not Yet, which closed last month at FOMU – Museum of Photography (Antwerp). Staci explores the “grief embedded” in the show, drawing on their personal and professional experiences: supporting Katja through the loss of her parents and navigating their own reflections on mourning and care. The essay traces how Mater’s photography, archival selection, and temporal structures invite visitors into a practice of attentive witnessing, and how Staci engages with these strategies to articulate the affective, ethical, and poetic dimensions of grief. The article, online now at Trigger via link in bio, is designed by Mikaela Ariana Christabel, a cultural studies student currently interning at Trigger. @heyitsabel Follow the link also for captions of the works Staci discusses: a visual map of the exhibition’s “afterlife,” and a meditation on grief, time, and photographic practice. No Longer Not Yet showed how photography and archival objects can extend care, reflection, and remembrance; Staci’s essay highlights and inhabits that capacity, tracing what it means to grieve, witness, and remain present within and beyond the exhibition itself. Images in slides: -Katja Mater, Their Own Sweet Time, 2025, two 16mm film projections 6’ 60” and 8’ 60” -Anonymous, Moon, sun, skeleton, dog, s.d, panoramic magic lantern slide | Collectie FOMU PRE/1963/410 -Katja Mater, Kijk met Beide Ogen, 2025, 50 stereo glass plates for Kaiser Panorama @staci.bushea ✨👈🏼 Special thanks to: @katjamater @ingrid_leonard and to all the anonymous people and moments of grief in the setting of exhibition, gone, but remembered. @fomuantwerp

Very last weekend to go see (with both eyes, or first one and then the other) No Longer Not Yet at FOMU Antwerpen. All pictures of me looking by the best sister @meikequirine No Longer Not Yet 28.02.2025 22.02.2026 with work by Katja Mater, George Filleul, Anonymous, Anonymous, Anonymous, Anony-mous, Suzy Embo, Jaques Messin, Nick Geboers, Paul Sano, Alphonse Van Besten, Henry Draper, Warren De la Rue, Anonymous, Alphonse Giroux et Cie., Geert Goiris, Anonymous, Anonymous, Anonymous, Anonymous, Anony-mous, Anonymous, Marie-Françoise Plissart, August Sander, Rik Selleslags, Charles Jean Swolfs, Anonymous, Anonymous, Frans Van de Poel, Guillaume Weber-Chapuis, Anonymous, Anonymous, Lebohang Kganye, Anonymous, Underwood & Underwood, Anonymous, Anonymous, Cassils, Amelia Bergner, Laure Winants, Anonymous, Harold Eugene Edgerton, Dominique Somers, Joseph-Maurice Bourot, Anonymous, Antoine Hoorens Many many thanks to everyone involved @ingrid_leonard_ @soniia.dorcas @samyra.moumouh @elisabeth_klement #tychovanessel and all of you who came to see it

♥︎ LAST WEEKS ♥︎ Inspiraling, an exhibition about reimagining collective living, dreaming up possible futures, honouring the life of our queer ancestors and the love for community building by Katja Mater, Clare Noonan, Jessica Gysel, Marnie Slater, Robin Brettar and Matilda Çobanli, with MYCKET, Ot Lemmens, Sophy Naess, Judith Geerts, Nienke Fransen, Christine de Pizan, Rosalind Nashashibi and Anne Reijniers & Eline De Clercq, curated by Sarah Menu, Elsa Vettier, Richard Neyroud, Sandrine Desmoulin and Maria Claudia Gamboa. Is still on view at CRAC Alsace Till March 1, 2026 CRAC Alsace 18 rue du Château 68130 Altkirch France Hours: Tuesday–Sunday 2–6pm @crac_alsace @clare_noonan @matildacc @marnie_jane_slater @jessicagysel @buttcoin.transaction @yuditttt @oddd.oddd @rosishibi @eline.de.clercq @mycket_ @reijniersanne @elsevettier @_richardneyroud @mariclau.gamboa @colinesuniercharlesmaze

One last week to see No Longer Not Yet at FOMU and one last week to see the series Droits de regards by Marie-Françoise Plissart from 1983 The publication Droit de regards by Marie-Françoise Plissart (BE, °1954) appears in 1985. The work blurs the boundaries between the visual arts and the photographic novel. A subtle use of editing creates the suggestion of multiple stories that blend into one another. Plissart uses techniques such as “mise en abyme” (an image within an image) and “metalepsis” (transitions between several layers of storytelling). Above all, Droit de regards is a work about photography and lesbian love. Mater places you right inside the book by using scenography to emphasise the circular and nonlinear character of this work. Beginning and ending are the same. Through the various entryways you can start at different points within the story. photos by @wedocumentart

Welcome to the Cosmic Room part of No Longer Not Yet, still on view @fomuantwerp untill the 22th of Februari ♥︎ slide 2 Anoniem Diableries, Observatoire 1860-1870 albumen print stereo card Collectie FOMU 2024/95 Les Diableries is a series of stereoscopic photos that was published in Paris in the 1860s. These stereoviews show fabricated scenes of daily life in hell, often with a satirical critique of the corruption and decadence of Napoleon III and the bourgeoisie during the Second French Empire. These photos, or “tissue views”, were hand-coloured and fitted with a layer of tissue paper on the back. They were then placed between two cardboard frames. The thin photopaper allows for the creation of special effects: at first sight it seems a normal photograph, but a magical impression arises when the image is lit from behind. Here you’ll see the eyes of skeletons and other creatures lighting up. slide 3 Warren De la Rue Lunar photographs Stereograph of moon 11 days old Date of negative: 1859, 5 December, 8 hours and 30 minutes, age of moon 11.3 days Date of negative: 1860, 27 August, 10 hours and 12 minutes, age of moon 11 days 1859-1860 albumenprint stereo card Collectie FOMU 2022/30/1 Warren De la Rue (UK, 1815-1889) was one of the first astronomer-photographers and created stereo photos of the moon in various phases. This picture shows the waxing moon between its first quarter and its full phase. Taking stereoscopic photographs of the moon is quite a challenge. Stereo photos are typically taken with a camera that holds two lenses, about 6-7 cm apart, and can capture objects up to about 91 metres away in 3D. For the moon, however, a distance of 96,000 kilometres would be needed between the lenses: this is impossible on earth. Yet 19th-century photographers like De la Rue have proven that – with much patience – a 3D picture of the moon can be made. By photographing the moon in the same lunar phase, but at different times and locations, they create variations in crater shadows that achieve a three-dimensional effect. photos by @wedocumentart

15 days left ༄ to visit “No Longer Not Yet” ♥︎ @fomuantwerp Here is some documentation ❣︎ of the previous 350 ❤︎ I will miss you ෴ Some pictures by Ingrid & Sonia ♡ thank you for the last 3 years working with me on this show ♡

One of the centerpieces of the exhibition No Longer Not Yet – Katja Mater and the FOMU-Collection is ‘Droit de regards’. This work by Marie-Françoise Plissart (BE, °1954) appears as a photoroman in 1985 and blurs the boundaries between the visual arts and the photographic novel. ‘Droit de regards’ is a work about photography and lesbian love. It is a book about women who love, pursue, and lose each other. A subtle use of editing creates the suggestion of multiple stories that blend into one another. In an accompanying text, French philosopher Jacques Derrida stresses that images can be just as powerful as words. Artist @katjamater , who curated the exhibition No Longer Not Yet, places you right inside the book by using scenography to emphasise the circular and nonlinear character of this work. Beginning and ending are the same. Through the various entryways you can start at different points within the story. Visit the exhibiton No Longer Not Yet Katja Mater and the FOMU Collection until 22.02.2026 at FOMU Info & tickets: www.fomu.be Note: To comply with Instagram’s Community Guidelines, FOMU was required to censor female-presenting nipples in all images Images: Marie-Françoise Plissart, Droits de regards, 1983 ©️ Collectie FOMU 2021/66/1-100 #fomuantwerp #fomuantwerpen #fomucollectie @katjamater #nolongernotyet #mariefrancoiseplissart

Some footage of Two Intersecting Loops of Silence, released on Futura Resistenza on December 9. Two Intersecting Loops of Silence is a 10-inch experimental vinyl that turns silence into rhythm and time into matter. Side A features two silent grooves that create a mechanical ticking when played, while Side B animates a clock-like etched drawing as the record spins. Numbered edition of 200 with hand-printed, unique etching covers. Each copy a one-of-a-kind artwork. Thank you all for the many great and fun reactions on-and off- line! Sales are going fast, but we still have some last copies left. Also available at @san.serriffe @____page_not_found____ @rile.books and at the @fomuantwerp shop

No Longer Not Yet at FOMU in Antwerpen is still up until 22/02/26 and is open this week except for 25/12/25 and 01/01/26 all instalation views by We Document Art

This Saturday 13/12 we host a small presentation for Katja’s release "Two Intersecting Loops of Silence" (RESAE003). After years of trial and error it’s finally here, so we thought that calls for a little celebration! 🥂 13 December 2025 17:00–20:00 Rue Heyvaert 15, Molenbeek Several discs will be on rotation, and some of them will be available for purchase. Thank you again Lester Michiels for going off the beaten path, thank you Marta Szewczyk for your patience, thank you André Avelas @andre__avelas for the prototype, thank you Naomi Kwee #naomikwee for the dental cement, thank you Sam van Gils @samvangils for closing the holes, thank you Nathan Gotlib @n_gotlib & Ivan Durt @ivandurt for the experimental etching. And always, and for the record, thank you Jessica Gysel @jessicagysel . Voor Marius. Pressing: MonotypePressing, Warsaw @monotypepressing DMM cutting (one side): dubplate.be @dubplate.be Etching (other side): Katja Mater at MASEREEL, Kasterlee @masereel.art Cover design and printing: Elisabeth Klement & Katja Mater at AGA Lab, Amsterdam @aga_lab Made with the support of @stimuleringsfonds Creatieve Industrie RESAE003 Futura Resistenza Brussels/Rotterdam, 2025

We are excited to share the release of 'Two Intersecting Loops of Silence' by Katja Mater ! Katja Mater 'Two Intersecting Loops of Silence' Release December 9, 2025 The experimental double-sided 10 inch vinyl ‘Two Intersecting Loops of Silence’ turns silence into rhythm and time into matter. A work that transforms the familiar vinyl record from a traditional sound carrier into an instrumental sculpture that quite literally puts time into rotation. ‘Two Intersecting Loops of Silence’ is a study of time, sound, and perception, combining conceptual philosophy with material experimentation. An inquiry into what it means to “record” time, and how time manifests through physical motion. The numbered edition of 200 copies is released by Futura Resistenza, a label operating between performance, music, and visual art. Each cover is hand-printed using three different test etching plates, turning every copy into a unique artwork.
 released by Futura Resistenza, Brussels/Rotterdam; pressing at MonotypePressing, Warsaw; DMM cutting one side by dubplate.be; etching other side by Katja Mater at MASEREEL, Kasterlee; cover design and printing by Elisabeth Klement & Katja Mater at AGA Lab, Amsterdam @katjamater #katjamater @futura_resistenza @masereel.art @elisabeth_klement