Fondazione HangarBicocca, Via Chiese 2, 20126 Milano, Italy
Condorelli's exhibition of sculpture, installation, video and text is imagined as a context for the co-existence of objects, participants and the public, creating a new space for doing and thinking.
Modern Art Oxford, 30 Pembroke Street, Oxford, UK OX1 1BP
What comes through in the exhibition more than philosophical or aesthetic similarities is an endless pursuit of elusive beauty through artistic practice. Review by Jaime Marie Davis
Hunterian Art Gallery, University of Glasgow, University Avenue, Glasgow G12 8QQ, Glasgow, G12 8QQ, Scotland
Caught here are Skaer’s investigations into the essence of things and realities: intuitive, organic thought articulated in exquisite structures and meticulous processes. Review by Valerie Norris
Castello di Rivoli Museo d'Arte Contemporanea, Piazza Mafalda di Savoia, 10098 Rivoli, Torino, Italy
A major new collaboration between Sophie Calle and the Castello di Rivoli Museo d'Arte Contemporanea explores pain, intimacy and death through site-specific installations. Calle's works explore the analogy of mother|sea (madre|mare), a sea that welcomes and gathers, covers and invests emotions.
Galerie Eva Presenhuber, Maag Areal, Zahnradstr. 21, 8005 Zurich
The cast and poured paintings of Alex Hubbard become lenses through which the gallery space as well as the other paintings in the exhibition can be viewed.
New Museum, 235 Bowery, New York, NY 10002
Chris Ofili’s first museum survey in the United States debunks and transcends his unjustified and limiting reputation as an African diaspora-centric artist who once employed the medium of elephant dung. Review by Arthur Ivan Bravo
Gallery II, University of Bradford, Richmond Road, Bradford BD7 1DP UK
Past Caring is an exhibition that explicitly makes central the subject of care as an active site for ‘intellectual and political possibilities.' Review by Louise Shelley
Galleria Zero, Viale Premuda 46, 20129 Milan, Italy
Jurgen Ots starts with old-fashioned sparkly projector screens that he collects in thrift shops. This uniquely identifiable material speaks of an earlier time, a media age of innocence when screens were unfurled before the assembled family with the majesty of sacred objects. When moving images left the movie palace for the home the potential for todays screen-world was born whole.
Esther Schipper GMBH, Schöneberger Ufer, 65 D-10785 Berlin, Germany
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Parreno's exhibition explores the speculative concept of the ‘quasi-object,' one that seeks to radically redefine the relationship between the subject and the object. For 'quasi-objects,' Parreno has written an algorithm, a mathematical automaton, to synchronise the behaviour of the objects. The works become a network of quasi-objects that appear and disappear, act upon and, in turn, are acted upon.
National Museum of Art, National Museum Cardiff, Cathays Park, Cardiff, CF10 3NP
Advancing on the successes of the previous prize, Artes Mundi 6 has burst into new spaces, challenging the didactics of what an exhibition and prize can be. Review by Bob Gelsthorpe
Stills: Centre for Photography, 23 Cockburn Street, Edinburgh EH1 1BP
Chloe Dewe Mathews’ latest photographic series ‘Shot at Dawn’ occupies a grey zone between obliteration and memorialisation. Review by Catherine Spencer
BALTIC Centre for Contemporary Art, Gateshead Quays, South Shore Road, Gateshead NE8 3BA
In 'Mirror Speech' Pickering has produced a series of immersive time-based installations that focus on problematising the image of community and our own contemporary relationship to the moving image. Review by Dan Munn
Palais de Tokyo, Paris
Inside China - L’Intérieur du Géant inaugurates a long-term collaboration between Palais de Tokyo and the K11 Art Foundation dedicated to the discovery and presentation of emerging art scenes in China and France.
