Daniel Trilling

At the House of European History in Brussels, a long display cabinet sets out the forces that have shaped Europe through the centuries: philosophy, democracy, rule of law, ‘omnipresence of Christianity’, state terror, the slave trade, colonialism, humanism, the Enlightenment, revolutions, capitalism, Marxism, the nation state. For each, a historical image is matched with something contemporary: for philosophy, you get a bust of Socrates and a photograph of Žižek; for revolutions, Liberty Leading the People and the uprising in Kiev’s Maidan Square; for the slave trade, iron shackles and a Banksy painting about child labour.

Far-right terrorist ‘manifestos’, like the one apparently published by one of the Christchurch shooters, are a kind of Rorschach test, inviting the reader to finish the job by finding meaning in the incoherent and contradictory ideas it contains. An act of mass murder is turned into a global spectacle by the use of real-time social media networks. Traditional media organisations and individuals online are drawn into repeating, arguing over and sharing the claims and images made by the perpetrator.

The European Commission says the ‘migration crisis’ is over. It has published a fact sheet aimed at countering both the far right, who tell lies about migrants and refugees, and humanitarian campaigners who point to Europe’s complicity in the imprisonment and torture of people in Libyan detention camps. It acknowledges that some ‘structural problems remain’.

But what is over, and who is it over for?

An exhibition split between the Jewish Museum and the Photographers' Gallery revisits the work of Roman Vishniac, best known for recording the lives of Eastern European Jews in the years immediately before the Second World War.