Miyako Yoshinaga, 547 West 27th Street 2nd Floor, New York, NY 10001-511
Titled 'Motherland', in homage to his home country, Joo, one of South Korea’s most well known photographers, transcribes seemingly dark surfaces to protean and lively landscapes. Review by Bansie Vasvani
Museum Alex Mylona-Macedonian Museum of Contemporary Art, 5 Agion Assomaton Square, Thission, Athens 10554, Greece
In his exhibition ‘My Mother’s Silence’ Christos Chrissopoulos mourns the loss of a home by compiling a photographic obituary. Review by Ioanna Maneta
Tate Modern, Bankside, London SE1 9TG
Marlene Dumas’ political and psychologically charged retrospective is reviewed by Fiona Haggerty.
T293, Via Tribunali 293, 80138, Naples, Italy
Featuring new paintings, a video installation, and a text written for the occasion of the exhibition, Henry Chapman's debut solo exhibition 'Writing' posits a poetics of time experienced through observation and touch.
Museo de Arte Contemporáneo de Oaxaca, Alcalá 202, Centro Historico Oaxaca, Oaxaca, Mexico
Mariana Castillo Deball's solo exhibition at Museo de Arte Contemporáneo de Oaxaca begins with a question about the line between time and objects, and how memory is filled with the present.
Nosbaum Reding Projects, 4 rue Wiltheim, L-2733 Luxembourg
When in front of Jakup Auce's paintings, we can notice the artist's hand, that sometimes stopped, or not, depending on his mood at the time of making. Text by Jean-Paul Jacquet
Arnolfini, 16 Narrow Quay, Bristol BS1 4QA
The evolution of language was originally believed to have a social function rather than an informational one and lends itself freely to song. Review by Rory Duckhouse
Kunstraum, Gorsuch Street, London E2 8HD
Unlearning to speak brings together an assemblage of works that choose to disregard their communicative responsibilities in an attempt to probe language. Review by Letitia Calin
Mercer Union, a centre for contemporary art, 1286 Bloor Street West, Toronto M6H 1N9
Complex issues surrounding the misty ‘truths’ of the documentary genre, the confrontation of uncomfortable national histories and more intimate family pasts are raised in Krista Belle Stewart’s current installation at Mercer Union. Review by Rebecca Travis
White Rainbow, 47 Mortimer Street, London W1W 8HJ
William Davie reviews a new exhibition of highly political and sometimes playful sculptures, drawings and photographs by Chu Enoki.
Waterside Contemporary, 2 Clunbury Street, London N1 6TT
Limits of Responsibility is a carefully considered formal exploration of a contemporary political crisis that brings forth questions about how far political activism can intervene in the art world. The exhibition is reviewed by Zoë Marden.
narrative projects, 110 New Cavendish Street London, Fitzrovia W1W 6XR
Rachel Lowe’s process relies on a reformation of found imagery from a variety of sources and past moments. The cut or the tear intimates a breaking of the source away from its temporal inscription. Joseph Constable reviews her solo exhibition.
Pippy Houldsworth, 6 Heddon Street, London W1B 4BT
Kovats explores in ‘Watermark’ the liquid element in its multitude of textures, impressions and geological implications. Review by Emilie Cloos
