October 23, I went to the Brighton Photo Bennial to see the series of exhibitions ranging from all kinds of topics. The topic for the biennial this year was ‘A New Europe’, which explored how Europe is changing in many more ways than we may think. The phrase has been used many times by artists and significant figures in politics to describe many events occurring and for this year, it has been interpreted in many different ways.

I went to see all 8 exhibits but I would just like to talk about some of my favourites.

My most favourite work among the exhibitions is the video installation by the London-based artist Hrair Sarkissian, in which the artist metaphorically demolishes a model of his Syrian home before it can be demolished in actual conflict. Homesick (2014) evidences that, that what one leaves behind in migration can still wound deeply.

Another one is  Bill Brandt’s work- first photobook, which was displayed on a glass case and in the form of spreads on the surrounding walls. In its call to the singular attention of the reader. The English at Home (1936), which combines images depicting high society and the working class, is arguably more powerful in the present format than if it had been published as a series of individual prints. The wall text’s subtle reminder of Brandt’s German heritage might go unnoticed at first but is poignant – this great British photographer was himself a first-generation migrant.

The Cross Channel Photographic Mission project, also sparked my interest. There were lots of photos on display which was photographed by various photographers documenting the construction of the Euro tunnel in the late 1980s. It was a project that lasted for over 20 years I found this exhibition to be really interesting to view as it showed how gruelling the building works were and just how much work was put into it.

Next one is Donovan Wylie’s Lighthouse 2017–18 – the work was displayed in a dark space/room and the display – photo mounted on a lightbox, was big enough for the viewer to be absorbed by the image. As the viewer becomes accustomed to the darkened space of the gallery, a faint lighthouse becomes visible in the centre of the image. As the eye adjusts it pulses, creating a sense that this still, backlit image shows a light that is flickering, as if about to stutter off.

Another favourite of mine was the work of Uta Kogelsberger. It displayed a billboard-size series of 28 head and shoulder portraits pasted onto the back of a shipping container. All subjects gazed directly out at the viewer and the world. All reflect some form of alienation from the Brexit negotiations. The portraits are changed during four live performances which take place during the Biennial.

The Biennial demonstrates that our relationship to Europe is much more complex than the issue of sovereignty. All the exhibitions in this Biennial has something about them, and all can be visited in a day. As a whole, they present a thoughtful, gently unfolding experience.