CIRCA Projects, John Joyce Building, Saltmeadows Road, Gateshead NE8 3AH

Mario Pfeifer: Approximation in the digital age to a humanity condemned to disappear

‘Approximation in the digital age to a humanity condemned to disappear’, seems like a prophetic title, steeped in a type of dystopian rhetoric; in fact it is a much more specific, contemplative description of the dissolution of smaller cultural identities, irreverently ignored and ousted by globalised industry and capital. Review by Josh Wilson

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Jacob Lewis Gallery, 521 West 26th Street, 4th Floor, New York, NY 10001

Matthew Weinstein: É Lobro

In Weinstein’s ‘É Lobro’ there are references to the voyeuristic gaze, the coy flirtations of a beautiful but non-emotive female character, and the delicious precision of Death bathed in precious metal. Review by Shana Beth Mason

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Whitechapel Gallery, 77-82 Whitechapel High St, London E1 7QX

Emily Jacir: Europa

The exhibition opens with a photograph of Palestinian translator and scholar Wael Zuaiter. It shows his body awkwardly slumped on a street in Rome, following his assassination by Israeli Mossad agents in 1972. Siobhan Leddy reviews this complex research project.

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Royal Academy, Burlington House, Piccadilly, London W1J 0BD

Ai Weiwei

It is the first room that captures the imagination in Ai Weiwei’s striking, frequently spectacular exhibition. To reach it, first you must pass through a thicket of reconstructed trees, each clamped into place by rusting iron girders in the RA courtyard. A counter to these snarling, twisted, fairy tale forms, the opening room eschews theatricality to thrilling effect. Edward Ball reviews

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Sprüth Magers, 7A Grafton St, London W1S 4EJ

Thomas Demand: Latent Forms

Latent Forms marks a stark departure from Demand's distinctive photographic style. Although three-dimensional architectural models remain his subjects, he has neither constructed them nor photographed them to look like real places. Review by Aris Kourkoumelis

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Kunsthalle Wien, Museumsplatz 1 1070 Vienna, Austria

Political Populism

'Political Populism' is the extremely populist title for an exhibition which aims to critically question this phenomenon through artistic means. The exhibition is not designed to present a picture of the cultural and historical development of populist tendencies but instead gathers over twenty international artists’ works and showcases them according to diverse topics.

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Tenderpixel, 8 Cecil Court, London, WC2N 4HE

All the Revolving Cells

'All the Revolving Cells' at Tenderpixel considers how to create a wider set of relations where nature is understood as a historical and material conditioning of social life.

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The RYDER,19a Herald Street, London E2 6JT

Andrea Galvani: The Sun, a Gold Nugget and Seven Stairs

Galvani's exhibition, building on previous displays in Mexico and the US, plays with time, space, place and sound via fragmented or itinerant perspectives. Jaime Marie Davis reviews.

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Leeds Art Gallery, The Headrow, Leeds, West Yorkshire LS1 3AA

British Art Show 8

Every five years the British Art Show, now in its eighth edition, tours four venues throughout the UK. The scale of the exhibition is colossal, the curatorial impetus similarly large in that it seeks to gauge the current climate of contemporary British art. Review by Fiona Haggerty

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Edel Assanti, 74a Newman Street, London W1T 3DB

Yoshinori Niwa: Historically Historic Historical History of Communism

Niwa’s video work documents social interventions in which he grapples to secure an understanding of communism. William Davie finds that what remains, however, is a synthesis of learned information.

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Gallery II, University of Bradford, Richmond Road, Bradford BD7 1DP

Notes from Technotopia: Artistic visions of the tech-past/present/future

‘Notes from Technotopia’ invites us to reflect on how technology is shaping us as humans, and how it might add to or subtract value from our experiences. Review by Lara Eggleton

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Maureen Paley, 21 Herald Street, London E2 6JT

Liam Gillick: The Thought Style Meets the Thought Collective

The real beauty in Liam Gillick's work is his unpretentious approach. His art is, in his own words 'aprofound'. Review by Benjamin Murphy

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Cooper Gallery, DJCAD, 13 Perth Road, Dundee DD1 4HT

Tomorrow Was a Montage

'Tomorrow Was a Montage' opens up an exploration of the visual languages and polemical politics of the Former East in the 1960s and 1970s. Its legacies are scrutinized alongside contemporary practice, permeated with that era’s sensibility of high alert, provocation and disquiet. Review by Alexander Hetherington

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