Martin Kollar’s *After* begins with a date and a rupture: 31 August 2019, the day his partner Maria died by suicide. Published by MACK in 2021, this 64-page hardback is not presented as a reconstruction of their shared life. It is an attempt to understand how a world divided by loss can alter the meaning of what came before it.

In the period after Maria’s death, Kollar gradually returned to his photographic archive. The images had been made during journeys undertaken together, including visits to research centres and public institutes connected with the film *Chronicle*, which they had begun preparing and shooting. At first, the archive was inaccessible; later, it became the object of prolonged, almost compulsive looking. Through this return, photographs acquired contexts and connections that had not been visible when they were made.

The book’s subject is therefore not memory in a sentimental or documentary sense, but the unstable passage between anticipation and aftermath. Kollar assembles existing photographs to register the way an event can reorganise the past, allowing ordinary places, journeys and preparations to carry a knowledge they did not seem to contain at the time. The sequence is shaped by hindsight without pretending that hindsight can restore coherence.

For serious collectors, *After* merits attention as a concentrated example of photographic editing as a form of mourning and inquiry. Its force lies in the tension between an archive gathered before the loss and a later consciousness imposed upon it. Issued as a silkscreened linen hardback measuring 20 × 25.5 cm, it is a deliberately compact object: intimate in scale, but concerned with a profound alteration in perception.