NCP Car Park, Newhall Street, Birmingham
Like a flock of birds, five female dancers circle, gather and glide across the tarmac of a rooftop car park. Their steps utilise every genre of movement and draw together the audience and performers in a whirl of sound and step. Review by Anneka French
Safehouse 1, Maverick Projects, 139 Copeland Road, Peckham, London
The work effectively functions in the house as ‘interior decorating’. Nearly all the pieces are curated to emphasise the domesticity of the space, allowing forgotten details of the past to elegantly emerge. Emma Rae Warburton reviews the exhibition SOROR, sited within a former safe house.
l'étrangère, 44a Charlotte Road, London EC2A 3PD
Joanna Rajkowska's sculptural objects refer to the ways that human relationships are founded on exchanges and abuses of power and pain. Review by Hatty Nestor
greengrassi, 1a Kempsford Road, London, SE11 4NU
'You’re a nice guy to let me hold you like this' brings together three of Davey's photographic 'mailer' pieces and her new 28-minute film 'Notes on Blue' - an episodic mediation on blindness, colour, and the life and work of British filmmaker Derek Jarman.
T293, Via G. M. Crescimbeni 11, Roma
T293 presents its first solo exhibition by British artist May Hands. Under the title of ‘Freschissimi’, the exhibition brings together an installation and a new series of paintings and sculptures curated during her summer residency in Rome.
Tanya Bonakdar Gallery, 521 West 21st Street, New York NY 10011
Placed at stake in Sze’s works are the very meanings and definitions of our culture, and the experience of space-time, moments, or ‘scenes.’ Review by Arthur Ivan Bravo
Talbot Rice Gallery, The University of Edinburgh, Old College, South Bridge, Edinburgh EH8 9YL
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'Accepting anything among everything' is not just an exhibition-acquaintance with the German artist’s work, but a historical document on conceptual art’s physiognomy and its complex relationship with everyday life, materiality, music and speech. Review by Maro Psyrra
The Hepworth Wakefield, Gallery Walk, Wakefield, West Yorkshire WF1 5AW
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For ‘Particle of Inch’, Magali Reus has made a body of work which uses the contemplative space of the gallery to exhibit a visual vocabulary we would more readily associate with being in transit. Review by Karl Musson
New Art Projects, 6D Sheep Lane, London E8 4QS
Taking its cue from concrete poetry, ‘Concrete Fictions’ presents works by Kadie Salmon, Jessie Makinson, Ricardo Alcaide and Ayo & Oni Oshodi. Across four semi-discrete rooms, the exhibition seeks to uncover the ways that objects and images coalesce into structures or forms that produce narrative effects. Review by Anneka French
Pippy Houldsworth Gallery, 6 Heddon St, London W1B 4BT
Works draw the viewer closer: a teaser inviting them to follow the lines with their own hand, to feel the soft fabric and caress the contours, to break the fourth wall and absorb themselves within the work. William Davie reviews the exhibition.
Edel Assanti, 74A Newman St, London W1T 3DB
In thinking of the waster not as an object but instead as a process, ‘Wasters’ explores the poetic potential of the recycling of forms. The exhibition proposes the idea of a waster as the spark for the creative act, beyond its traditionally utilitarian function. Edward Ball reviews
LisaBird Contemporary, Brucknerstrasse 8, 1040 Vienna, Austria
Markus Redl's latest solo exhibition at LisaBird Contemporary is based on the artist's intense involvement with the sculptural materials of stone, bronze and paper throughout the past ten years.
Poole Museum, 4 High St, Poole, Dorset BH15 1BW
Ian Giles' exhibition explores the phenomenon of 'Free Time' which was implemented at Poole Pottery in the 1960s and 70s, and showcases original ceramics as well as work created in collaboration with people living and working in Poole.
Ingleby Gallery, 15 Calton Road, Edinburgh EH8 8DL
As life and art collide, Avery’s sculptural objects also blur the assimilation of realities. In the centre of the gallery sits a buoy, bucket and length of rusted chain. This island relic is just that, an everyday object scrounged from a fisherman on Mull and re-positioned, unchanged in the gallery as a proponent of another reality. Review by Matthew Hearn
