OUTPOST, 10b Wensum Street, Norwich, NR3 1HR, UK
Taking G L A M O R O U S - the most memorable line from Fergie’s popular R&B hit (of the same name) as a starting point, I present and dissect the word "glamorous".
Plymouth Arts Centre, 38 Looe St, Plymouth PL4 0EB and Plymouth College of Art, Tavistock Pl, Plymouth PL4 8AT
It seems near impossible to refer to the style of a Rose Wylie painting without mentioning the word childlike. Even on canvas, brush-strokes and mixes of paint still carry the instinctive childlike motion of the impulsive hand that struck them there. Review by Eva Szwarc
Transfer Gallery, 1030 Metropolitan Ave, Brooklyn, NY 11211
Contrary to the exhibition’s title, which suggests a state of stasis, Holberton’s work oscillates between analogue and digital, animate and inanimate, in order to destablise the notion of these binaries, and explore the possibility of a third space. Review by Grace Storey
Banner Repeater, Hackney Downs Network Rail, Platform 1 Dalston Ln, London E8 1LA
The exhibition presents a set of possible borders, or more precisely, gives us a kit of instruments to delineate the fitful, slippery and serpentine edges of technology so we can keep control of the data hidden within the substrata of our bodies. The show is more of a virus than an art exhibition, one that sets out to disrupt the control systems that invisibly ensnare us all. Review by Matthew Turner
Ashmolean Museum, Beaumont Street, Oxford, England
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Above all, in America’s Cool Modernism at the Ashmolean Museum, the absence of human presence in the artworks betrays an anxiety towards the place of people in an increasingly mechanised world. I found myself thinking about the photographs of Detroit that surfaced several years ago, showing the derelict buildings and factories that remain in the wake of the city’s bankruptcy. Review by Rowland Bagnall
Dublin City Gallery The Hugh Lane, Charlemont House, Parnell Square North, Dublin 1, D01 F2X9, Ireland
In light of seismic political events, and the failed attempts to square the circle that is the Irish Border, Amanda Dunsmore’s exhibition ‘Keeper’ in Dublin’s Hugh Lane seems increasingly vital and brings the Good Friday Agreement into sharper focus. Review by Aidan Kelly Murphy
Camden Arts Centre, Arkwright Rd, London NW3 6DG
When I first saw Sadie Benning’s ground-breaking ‘cut and paste’ video work in the early 1990s, with their cool soundtracks and deadpan narrations, it was clear that here was an artist who was ahead of their time and whose influence can be seen in practices from Mark Leckey to Heather Phillipson. For their first solo exhibition in London, Benning presents new work that continues their interest in autobiography and found imagery which now finds form through a filmic sequence of paintings and collages. Review by Piers Masterson
Gropius Bau, Niederkirchnerstraße 7, 10963 Berlin
Ana Mendieta remains a significant artistic figure of the 1970s and 1980s because of her radical practice encompassing performance, gender and geo-political identity. The extensive self-documentation of her performances (which were often enacted alone) on primarily Super 8 film has allowed for her works to survive to this day. Review by Joan Lee
Stephen Friedman Gallery 25-28 Old Burlington Street London W1S 3AN
Stephen Friedman Gallery is delighted to present Swedish artist Andreas Eriksson's third solo exhibition at the gallery: ‘Kria'. Living and working in Lidköping, Sweden, he is known for the unique way he examines nature and the history of painting to illustrate the quiet beauty that underscores everyday life.
Barbican Centre, Silk St, London EC2Y 8DS
Commissioned by the Barbican as part of the ‘Art of Change’ programme, Moroccan-born artist Yto Barrada has taken over the Curve gallery with a display of loss, separation and re-emergence. Referencing the novel ‘Agadir’ by Mohammed Khaïr Eddine, the artist reworks the spinal layout of the gallery as a fragmented timeline. Using photography, film, performance and collage, Barrada guides us through a history of colonialism, political subversion and the failure of a Modernist architectural utopia, all wrapped up in an event – an earthquake – that all but destroyed the city in fifteen seconds in 1960. Review by Rosanna van Mierlo
The Koppel Prpject Hive, 26 Holborn Viaduct, London EC1A 2AT
In ‘Natur Blick’, scanning - the instinctive visual movement of the human eye, a gesture co-opted by modern technology - is the subject of the work of ten contemporary artists. Review by Olivia Aherne
Roman Road, 69 Roman Road, London E2 0QN
Water declares itself the primary medium of Alix Marie’s ‘La Femme Fontaine’ – its presence in the gallery is inescapable. Running through long, clear tubes, it finds its way into every corner of the space. It scales the high walls only to come back to the ground. It trickles audibly into shining silver bowls and the splashing carries and echoes. It spills on to the floor, collecting in shallow puddles. Review by Kaitlyn Kane
The approach, 1st Floor, 47 Approach Road, Bethnal Green, London E2 9LY
The overall aesthetic of the current exhibition, ‘Serpentine’, is remarkably conservative. The collages appear to be simple cut-outs; I stare at them, and they freeze. The lines, corners and edges form sharp patterns through the gallery wall; and they are softened by the pale colours outlining and filling the shapes. Review by Carolina Mostert
Castlefield Gallery, 2 Hewitt Street Manchester, M15 4GB
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Set against the backdrop of the centenary celebrations of the suffragette movement, Castlefield Gallery's exhibition – which is co-commissioned with the University of Salford Art Collection – is the result of Ruth Barker and Hannah Leighton-Boyce's year-long research and production residencies. Throughout 2017, the two artists exchanged ideas from their respective locations in Salford and Glasgow; each delving into the long-standing archives of either the University of Salford Art Collection or the Glasgow Women's Library in order to formulate new visual narratives. Review by Selina Oakes
