Cornerhouse, 70 Oxford Street, Manchester, M1 5NH
The final exhibition to be shown at Cornerhouse takes Jaques Tati's 1967 film ‘Playtime’ as a starting point, and features a combination of installation, sound and video works. Review by Lauren Velvick
Camden Arts Centre
An archived recording of artist Ruth Ewan talking with writer and curtator Chris Fite-Wassilak at Camden Arts Centre
Artists Space, 38 Greene Street 3rd Floor, New York NY 10013
Between black boxes, white cubes, festivals, cinemas and biennales, when filmmakers become artists is often a question of definition and institutional context rather than form. Review by Gemma Sharpe
Nosbaum Reding Projects, 4 rue Wiltheim, L-2733 Luxembourg
Marnie Slater responds to Dear Luxembourg (yours, bucktoothed grl) at Nosbaum Reding Projects
Hauser & Wirth, 23 Savile Row, London W1S 2ET
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Alternating between using her fingernail, the side of her hand and a tool, Schendel creates gentle lines, words and symbols on the fragile surface of rice paper. The results are like a diary made of cloudy and vague memories. The exhibition is reviewed by Thais Gouveia.
Limoncello, 340-344 Kingsland Road, London E8 4DA
De Santis' exhibition is a playground viewers are invited to revel in, complete with trampoline and leaping dolphins. Review by Kathryn Lloyd
MK Gallery, 900 Midsummer Blvd, Milton Keynes, MK9 3QA
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How to Construct a Time Machine explores photography and film as forms to be manipulated, enabling a slowing down, speeding up and holding still of time. Review by Edwina Attlee
Bosse & Baum, 133 Copeland Road, London SE15 3SN
Hendry explores different ways of containing, breathing, constructing and producing space, using materials to explore ‘memory architectures’ and fragmented structures.
Haus der Kulturen der Welt, John-Foster-Dulles-Allee 10, D-10557 Berlin
transmediale 2015 is something of a closed-loop system, where endless data capture and gamification is turned back on itself, and where digital labour is both critiqued and revelled in. Review by Rob La Frenais
Arnolfini, 16 Narrow Quay, Bristol BS1 4QA
Willem de Rooij’s works at The Arnolfini combine to offer a politically charged response to global protests. Review by Rory Duckhouse
BALTIC Centre for Contemporary Art, Gateshead Quays, South Shore Road, Gateshead NE8 3BA
Durant subjects seemingly disparate phenomena to a process of recycling, improvisation and low-tech construction. Review by Louise Winter
Standpoint, 45 Coronet Street, London N1
‘Footnotes Playing Dead’ presents works using games, where viewers are invited to “play with” and explore for themselves aspects of the Israel-Palestine occupation. Becky Shaw reviews
NGV International, 180 St Kilda Road, Melbourne, Australia
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Drawing parallels between educational models and contemporary art, Emily Floyd’s bold and colourful works generate spaces for social engagement and interaction whilst provoking discussions about contemporary social, cultural and political ideas.
