Kavi Gupta, 835 W. Washington Blvd., Chicago, IL 60607
In his upcoming exhibition, Sign, at Kavi Gupta, Chicago, Glenn Kaino directly challenges the signifiers of colonial action: objects which encode the terms of traversal, demarcate ownership, and crystallize territory into the social contract. Maps, flags, signs, and peace agreements all have one thing in common, they are symbolic markers of man’s assertion of his ownership of his world.
Lily Brooke, 3 Ada Road, London, SE5 7RW
Drawing on a broad framework of cinematic references, for her upcoming exhibition at Lily Brooke, Eva Gold presents an installation comprising several individual sculptures. Situated within a broader exploration of filmic spaces, Gold here extends her analysis of the cinematic landscape as memory site.
Barbican Centre, Silk St, London EC2Y 8DS
Enter into the Barbican’s gallery space, and an audience is huddled around a trio of young male dancers in loose, draped clothing, shuffling on tiptoe and making gentle reaching arm movements. Evie Ward reviews Trajal Harrell: Hoochie Koochie, A performance exhibition.
Chewday's, 139 Lambeth Walk, London, SE11 3EE
![Bryan Dooley, NP, 2016 [detail]](https://tit-assets.s3.amazonaws.com/articles/3300/public_death_11__large.jpg)
Public Death is the theatrical result of Bryan Dooley's research into dormant patents, currently owned by Google, designed to move data farms out to sea. Dooley’s installation plays on themes of circulation, cultural signification, technological progress, and inevitable disaster.
Kunstverein Harburger Bahnhof, im Bahnhof über Gleis 3 & 4, Hannoversche Straße 85, 21079 Hamburg
Christopher Kulendran Thomas’ family is from a place that no longer exists. For three decades during the Sri Lankan civil war, “Eelam” was self-governed as an autonomous state led by a neo-Marxist revolution.
Chisenhale Gallery, 64 Chisenhale Road, London E3 5QZ
A long table surrounded by Ikea-style chairs runs through the centre of the gallery, while in one corner, a separate environment for relaxing houses oversized cushions and shelves of plants. And everywhere, there is the physical manifestation of tech: wires, adapters, servers, computers, and cameras, creating a cacophony of noise that hums throughout the installation. Review by William Rees
Victoria Miro Mayfair, 14 St George Street, London W1S 1FE
The facelessness interrupts personal empathy, forcing the viewer to observe from a distance. There is no possibility for intervention, we are powerless and we have failed. Benjamin Murphy responds to Kara Walker's current exhibition at Victoria Miro Mayfair.
Barbican, Silk St, London EC2Y 8DS
The spine of the exhibition is ‘Revolution’ - a 30-minute video displayed on five monitors throughout the gallery and accompanied by a live choreographed performance. This mash up of dancers in a studio performing strong, synchronised choreography, Kool FM DJs jamming to Drum & Bass and Peake family home videos dictates the throbbing, erratic rhythm that permeates the space. Review by Alex Borkowski
LADA
A Vision of Love Revealed in Sleep is Neil Bartlett's one-man homage to the pre-Raphaelite painter Simeon Solomon originally made in 1987 and re-performed at Tate Britain as part of the Queer British Art exhibition in July 2017.
Birch Contemporary, 129 Tecumseth Street, Toronto, Canada
Soon Comes Night explores images as an unfixed entity – between light and dark, abstract and representational, constructed and incidental.
Baltic Centre for Contemporary Art, Gateshead Quays, S Shore Rd, Gateshead NE8 3BA
Luke Naessens interviews Brian Griffiths about his exhibition 'BILL MURRAY: a story of distance, size, and sincerity' at BALTIC Centre for Contemporary Art.
Valentin, 9 rue Saint-Gilles, 75003, Paris
George Henry Longly’s new exhibition at Valentin, 'The Smile of a Snake', takes its name from a language tutorial emphasising the pronunciation of the letter “s”. A phonetic exercise forlearning English as a foreign language it also highlights problems with the physical materialisation of language.
MoMA, 11 W 53rd St, New York, NY 10019
Widely noted, the role of fiction in Walid Raad’s practice takes a lead throughout his mid-career retrospective at MoMA. Review by Gemma Sharpe
LADA
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For this LADA Screens we are showing Proliferations I by filmmaker & performer Liz Rosenfeld.
