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Brighton exhibitions

No Polar Bears, No Wind Farms: 20 Photographers Find New Ways to Show the Climate Crisis in OPEN Eco

Twenty artists answer OPEN Eco’s climate-photography prompt with images of bushfire damage, glacier tourism, beach plastic and nature reclaiming human-made places.

By DocumentaryTube Team 3 min read
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OPEN Eco, an outdoor photography exhibition at Brighton’s Seafront Gallery, brings together 20 artists, each contributing one photograph in response to the question: “how can photography make a difference to the climate crisis?” The show is scheduled for 5 October to 1 November 2026 as part of Photo Fringe 2026. Rather than rely on familiar climate imagery such as wind farms or polar bears on ice, the works described in the exhibition report look at damage, human choices and nature’s persistence in altered places.

What OPEN Eco is—and when to see it

OPEN Eco is an outdoor exhibition at the Seafront Gallery, 54 Kings Road, Brighton BN1 2HJ. It is scheduled to run from 5 October through 1 November 2026. These are the dates reported for the exhibition; check current venue information before visiting, as schedules can change.

The exhibition is part of Photo Fringe 2026. The festival describes itself as a twelfth biennial, open-platform event, with more than a hundred exhibitions and events across Brighton & Hove and the south coast from Portsmouth to Newhaven during October. OPEN Eco is one strand of that wider programme.

Why the exhibition looks beyond familiar climate images

Wind farms and polar bears on ice floes are real parts of climate imagery, but their familiarity can blunt their impact. OPEN Eco’s prompt—“how can photography make a difference to the climate crisis?”—invites a wider view of what climate change touches: landscapes, tourism, waste, communities, built environments and the ways people respond.

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Each of the 20 internationally selected artists contributes a single photograph. That format puts distinct responses side by side without asking one image to represent the whole crisis. A photograph might serve as evidence of a changed place, testimony to an experience, a warning, or an invitation to look again at an environment close to home.

What the photographs ask viewers to notice

The examples reported from the exhibition can be read through several overlapping themes. These are ways to make sense of the works, not official categories assigned by the exhibition.

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Visible damage in specific places

Ann Petruckevitch’s image shows a fire-blackened highway sign in Australia, while Rebecca Goddard’s work turns attention to fly-tipped rubbish near Bristol. Both anchor environmental concern in recognisable sites and traces of human activity. Petruckevitch’s image caption includes large figures for land and wildlife affected by bushfires, but the report does not identify an original source or year for those numbers, so they should not be treated here as independently verified statistics.

Human activity entangled with environmental change

Mark Phillips’s work concerns glacier protection using tarpaulins in a setting linked to tourism. Britta Kohl-Boas looks at visitors photographing a melting glacier. Together, these examples point to a tension: people encounter and document vulnerable landscapes, while tourism and the efforts to preserve those landscapes form part of the same scene.

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Turning pollution into a collective response

Dr Gil Mualem-Doron’s project with young people in Sri Lanka transforms plastic collected from beaches into wearable art. The work connects pollution with a creative, community-based response, shifting attention from discarded material alone to what people can make and communicate together.

Nature persisting in human-made spaces

Halfdan Hallseth photographs a tree growing inside the unfinished cooling tower of Chernobyl Reactor 5. Kerstin Rudnick’s image shows vegetation overtaking abandoned cars. These works bring human structures and nature into the same frame, asking viewers to consider what persists after industrial or automotive activity recedes.

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How one photograph can connect the local to the global

The works begin with particular places: a road, a beach, a glacier, a waste site or an industrial structure. Their scale is local, but their subjects connect to broader questions about climate, consumption, pollution and human presence. That connection is central to the exhibition’s single-image format: a photograph cannot explain every cause or consequence, but it can make one overlooked condition visible and give viewers a point from which to think further.

Photo Fringe producer Ricardo Reverón Blanco describes the format this way: “The single-image format asks us to consider what a photograph can do within a wider conversation. An image can act as evidence, testimony, warning or invitation. It can make visible what is overlooked, connect a local experience to a global condition, or encourage us to look again at the environments we inhabit every day.”

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Not the same exhibition as OPEN Eco in Worthing

Photo Fringe also staged an earlier OPEN Eco outdoor exhibition on Worthing Seafront, running from 14 October 2022 to 29 April 2023. That historical edition also involved 20 open-call artists and the same climate-photography question, but it was a different show at a different venue. Its dates and production details should not be applied to the 2026 Brighton exhibition.

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