Cubitt, 8 Angel Mews, London N1 9HH
The video works layer lurid cartoons, psychedelic narratives and deadpan rap music; they are accompanied by production drawings and a sculpture. Edmée Lepercq reviews Hardeep Pandhal's solo exhibition at Cubitt.
Assembly Point, 49 Staffordshire Street, London SE15 5TJ
The city is striated into manifold ordered grids that similarly control our movements. The Nevada desert on the other hand, one of the locations Lilah Fowler explored for her show at Assembly Point, has no such boundaries and borders – it has an order more in common with a modulating weather system than any Cartesian geometry. Review by Matthew Turner
Modern Art Oxford, 30 Pembroke St, Oxford OX1 1BP
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Upon entering the upper gallery of Modern Art Oxford, there is something slightly reminiscent of an art foundation course exhibition in 'The Family in Disorder: Truth or Dare' (2018), an installation of 'exploded' materials, as if students had been asked to explore those materials, languages, and meanings, resulting in a rather haphazard assemblage. Review by Paul Black
Zabludowicz Collection, 176 Prince of Wales Rd, Belsize Park, London NW5 3PT
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Hazel Brill’s new video installation ‘Woke Up in Spring’ presents a compendium of media and cultural references that build up a layered picaresque of the artist’s exploration of her environment. Review by Piers Masterson
Museum of Contemporary Art Australia, 140 George St, The Rocks NSW 2000, Australia
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Artistic Director Mami Kataoka utilizes the concept of Superposition as a metaphor for the 21st Biennale of Sydney. Superposition is a theory borrowed from quantum mechanics, it posits that different, even seemingly conflicting, components are held in suspension - equal in their difference and vital to the whole. This metaphor seeks to bring the different threads, directions, contradictions and loose-ends that exist in our contemporary world into a (utopian) balance. Review by Kathleen Linn
KARST Gallery, 22 George Pl, Plymouth PL1 3NY
Assembled Spaces brings together the work of Tine Bay Lührssen, Nina Brauhauser and Ilka Helmig in their UK debut. The artist trio combine photography, sculpture and traditional and digital drawing with a considered harmony in the arrangement of the works. They zigzag between each other, creating a visual conversation which dictates no linear instructions, nor a start or end point, to the viewer’s navigation. Review by Eva Szwarc
Cordova, Carrer de Portugalete, 15, 08014 Barcelona, Spain
Inspired by ‘The Butterfly’s Evil Spell’ (1920), Federico Garcia Lorca’s first ever play, Sierra Hyte’s ‘Honey Week’ is an invitation to participate in an almost theatrical setting in which humans, animals and creatures alike are welcome to partake of the space. Review by Marta Faria
Temple Bar Gallery + Studios, 5 - 9 Temple Bar, Dublin 2, Ireland
Her two-tone and inverted printing, combined with these notations, help turn the map into a celestial chart for navigating the tale. Along with this map, Palmer presents a pair of audio recordings, featuring a ‘silent’ reading room within the gallery, circus tunes, sampled music, as well as a dual voice recording. Review by Aidan Kelly Murphy
Kettle’s Yard, University of Cambridge, Castle Street, Cambridge CB3 0AQ
Kettle's Yard in Cambridge re-opens following a multi-million pound redevelopment of its galleries and public spaces and takes this question, and its possible answers, as a starting point. It features the work of 38 practitioners whose works fill the galleries, the on-site historic house and a nearby church, as well as occupying space online and being emblazoned on the uniform of the front of house staff. This exhibition is expansive. Review by Ryan Hughes
Museum Voorlinden, Buurtweg 90, 2244 AG Wassenaar, The Netherlands
The arrangement of the Voorlinden Museum’s current exhibition, Martin Puryear, surprises and makes it a delight to behold. Whereas the first half of the presentation is dominated by polychromed sculptures, natural wood surfaces predominate in the second half. A key feature of the layout is that it eschews a chronological ordering which urges viewers to seek out aspects that highlight alternate paths of development. Review by John Gayer
out_sight, GF, 12, Changgyeonggung-ro 35ga-gil, Jongno-gu, Seoul, S.Korea
Cleaning as we know it secures a homogeneous space that is removed of all otherness. However, when Mitra Saboury rubs, flosses, dusts and swipes things in her videos, her body as the subject of cleaning ends up revoltingly contaminated with the filth. Instead of eliminating dirt and grime, Saboury’s body becomes part of the mess. Text by exhibition curator, Jinho Lim.
