Sprüth Magers London, 7A Grafton Street, London, W1S 4EJ
Lawler emphasizes the aspects of viewing art we continually overlook as she makes pointed observations about the art world system, its complex rules and its institutional practices. Review by Aindrea Emelife
Primary Projects, 151 NE 7TH Street, Miami, FL 33132, USA
Pettersson's sprawling layout is a conglomerate of physical associations with cemeteries, shipwrecks, willow forests and seances. Review by Shana Beth Mason
Studio Voltaire, 1a Nelson’s Row, London, SW4 7JR
On the far wall of Studio Voltaire’s main exhibition space hangs ‘Birth of the Universe’ (2014), a large-scale painting by the American artist Judith Bernstein (b.1942). Blood red labia stretch open to reveal a fluorescent yellow cavity and a bright blue spiral. Two white penises ejaculate into the orifice, and it is out of this colourful admixture that the entire universe is born.
Nikolaj Kunsthal, Copenhagen Contemporary Art Centre, Nikolaj Plads 10, 1067 Copenhagen, Denmark
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Shahzia Sikander transforms miniatures into detailed, living, digitally animated stories.
The Drawing Centre, 35 Wooster Street, New York, NY, 10013
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Considering the role of the collection, the database and the aggregate in drawing.
Hannah Barry Gallery, 4 Holly Grove, Peckham, London SE15 5DF
‘A Strong Affinity’ resonates somewhere between a science-fiction novel and an industrial blizzard. Review by William Davie
Cooper Gallery, Duncan of Jordanstone College of Art & Design, 13 Perth Road, Dundee DD1 4HT
Studio Jamming is the first discursive survey of grassroots initiatives that form a corner stone to the achievements of contemporary art in Scotland. Review by Alex Hetherington
Eastside Projects, 86 Heath Mill Lane, Birmingham B9 4AR
In The Agony of Power Baudrillard asserts that the demise of the radical left in 1968 can be situated in a double refusal to be dominated or to dominate through power structures. The desire for autonomy from the bonding of a life in the production of capital, fractured into a bricolage of ideologies that saw the traditional modes of resistance transmute into the spectacle of violent acts by political agencies such as the Red Army Faction in Western Germany.
apexart, 291 Church Street, New York, NY 10013 USA
apexart explore the relationships between contemporary art and scientific research.
The Institute of Contemporary Art, 100 Northern Avenue, Boston, MA 02210, USA
The Institute of Contemporary Art, Boston presents the first comprehensive survey of Jim Hodges' work, offering poignant sculptural meditations on life, love and loss.
The Common Guild, 21 Woodlands Terrace, Glasgow G3 6DF
Through careful selection and arrangement, Tompkins sieves and filters images like sediments. Review by Guo-Liang Tan
Victoria Miro, 16 Wharf Road, N1 7RW, London
Hernández’s hand is volatile and unrepentant as it channels the passion and freedom of Pollock and Kline. Review by William Davie
Lisson Gallery, 52-54 Bell St, London NW1 5DA
For his third solo exhibition with Lisson Gallery, Ai Weiwei has created a monumental new installation of bicycles as part of an ongoing series, ‘Forever’, as well as a number of hand-carved, domestic-scale copies – in various materials including wood, stainless steel and crystal – of some highly personal objects.
