Kunsthaus Zürich Heimplatz 1 CH–8001 Zurich
For her latest solo show at Kunsthaus Zürich, Swiss video artist Pipilotti Rist transforms the more than 1,000 square metres of the large exhibition space into one big installation.
Spike Island, 133 Cumberland Road, Bristol BS1 6UX
The asceticism of religious furnishing denies any mortal comfort; one’s body ought to be forgotten, directing mind and gaze in a heavenward tilt. Riffing on this tic of worshipful design, Simpson’s paintings close what’s human out. Review by Alex Quicho
Ocean Studios, The Factory Cooperage, Royal William Yard, Plymouth PL1 3RP
The title ‘144’ was borne out of the compass degree upon which the building falls. Visibly translated, the compass line is faintly chalked along the floor of the exhibition and there for those who notice it. Such subtlety is a trait shared with the surrounding paintings, which refuse to overwhelm the viewer upon entering. Review by Eva Szwarc
Susan Hobbs, 137 Tecumseth Street, Toronto M6J 2H2
All the works in 'dd/mm/yyyy' present a structure that must be interpreted by the viewer, as if one were scrutinizing an unfamiliar alphabet. The only work in the show with words in it, a quote from Aristotle’s ‘Nichomachean Ethics’ is about being just, temperate and brave. Review by Robert Fones
Grand Union, Minerva Works, 158 Fazeley St, Birmingham B5 5RS
Precarity Centre is an interdisciplinary framework and an experiment in social space rather than an exhibition. It sets out to be a much more fluid entity – one that is unfolding over time, has multiple points of access and a sense of precariousness to its content and form. Review by Anneka French
IMT Gallery, Unit-2, 210 Cambridge Heath Rd, London E2 9NQ
The body as alien is present throughout Seitz’s work - it is tracked, monitored, given passage, speculated over. Review by Cathy Wade
Lisson Gallery, 27 & 52 Bell Street, London NW1 5BU
Laura Purseglove reviews an exhibition exploring the subject of 'line' via three seminal pieces, more recent works and new commissions that serve to demonstrate how much artists today owe to the radical departures made by previous generations.
Filmed at Modern Art Oxford 3rd March 2016
The first in a sequence of commissions devising a new form of performance, which will evolve throughout the year. Choreographed text, live music and performing bodies collude to reconsider experience, knowledge and the fantastical.
Lisson Gallery, 27 Bell Street, London, NW1 5BU
'I’m a born bricoleur. I love the way that things that are otherwise discrete and self- contained start to suggest things once they are forced into a dialogue with something else.' - John Akomfrah
Centre for Contemporary Art Derry~Londonderry, 10–12 Artillery St, Derry~Londonderry BT48 6RG, Northern Ireland
The first impression is of a sort of constructivist parade: bright abstract forms, black and white photographic reproductions, and the joyous extension of the work over the walls of the gallery. Closer inspection reveals a more composed, less univocal arrangement. Review by Nathan O’Donnell
Contemporary Art Centre of Thessaloniki, Warehouse B1, Port P.O.Box 10759, Thessaloniki
‘Flying over the Abyss’ is the title, as well as the transcendent subject, of this group exhibition developed by NEON Organisation for Culture and Development in collaboration with the Thessaloniki Centre of Contemporary Art. Review by Ioanna Maneta
LADA
To accompany the screening of 'And I’ at the White Building in London on 24th February, Reynir Hutber has edited a short film derived from the photographs, rehearsal footage and other documentation of this unique work of endurance which was made in collaboration with Marcia Farquhar. Online 24 February - 9 March 2016
Skarstedt, 20 East 79th Street, New York, NY 10075
Skarstedt is known for presenting wide-ranging exhibitions that often develop discussion between different generations of prominent American artists, and the distinctly rich display of late Twentieth-Century works recently shown at their Upper East Side space was no exception. Review by Phoebe V. Bradford
