BALTIC Centre for Contemporary Art, S Shore Rd, Gateshead NE8 3BA

Digital Citizen - The Precarious Subject

Citizen Ex, Part of Digital Citizen, The Precarious Subject, BALTIC Centre for Contemporary Art, Gateshead

The technological revolution was meant to liberate us, but it has flooded society with endless torrents of information, cataracts of algorithms and a deluge of uncertainty. James Bridle has written fervent polemics warning us of our perilous fate should we not develop a new “systemic literacy” to navigate these unknown waters. Responding to his call, ‘Digital Citizen’ unites the work of ten artists to inspire conversations on citizenship, democracy, identity and reality in a digital world. Review by Christopher Little

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Frith Street Gallery, 17-18 Golden Square, London W1F 9JJ

Raqs Media Collective: Spinal

Raqs Media Collective, Not Yet At Ease, 2018. Modular padded structure with fabric ceiling, padded stools. Six videos displayed on four monitors and two projections, six channel audio. Dimensions variable.

‘Spinal’, Raqs Media Collective's exhibition at Frith Street Gallery, features the installation ‘Not Yet At Ease’. It reflects on the mental state created by the discomfort and exploitation of First World War soldiers of Asian heritage. Review by Alexandra Gamrot

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Edel Assanti, 74a Newman Street, London W1T 3DB

We are the people. Who are you?

Funda Gul Ozcan, It Happened as Expected, 2018, Four channel video installation, looping, Dimensions variable

A timely exhibition, ‘We are the people. Who are you?’ is an insightful essay representing current anxieties over the health of our electoral democracy. The 30th anniversary of the fall of the Berlin Wall is looming and as well as reflecting the unpredictable consequences of that historical moment for artists from the former Soviet bloc the show connects the ‘revolution’ of 1989 with the turning point of 2016’s US election and other historical pivots. Review by Piers Masterson

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New Museum, 235 Bowery, New York, NY 10002, USA

Mariana Castillo Deball: Finding Oneself Outside

Mariana Castillo Deball, Nuremberg Map of Tenochtitlan, 2013. Installation view: Preis der Nationalgalerie fur Junge Kunst, Hamburger Bahnhof, Museum fur Gegenwart, Berlin, 2013.

Mexican-born, Berlin-based multimedia artist Mariana Castillo Deball’s practice interrogates the junctures between fields of knowledge as disparate as archaeology, anthropology, material culture, art and history. More specifically, Castillo Deball’s works probe into the hows and whys of objects transformed – (re-)activated, granted agency, even fetishized – into art objects, with all due implications. Review by Arthur Ivan Bravo

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Galerie Thaddaeus Ropac, Ely House, 37 Dover St, Mayfair, London W1S 4NJ

Robert Rauschenberg: Spreads 1975-83

Robert Rauschenberg: Spreads 1975-83 installation view

The sun-soaked palette of Rauschenberg’s home on Captiva Island in Florida, where he settled in 1970, is injected into works like Lipstick (Spread) (1981), with its crimson umbrella and smear of bubble-gum pink. Umbrellas find their way back into another highlight of the show, Untitled (Spread) (1982), where two open parasols like blooming sunflowers bring harmony to a reel of collaged pictures of the American flag, shipping containers and lithe athletes. Review by Claire Phillips

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TJ Boulting, 59 Riding House Street, Fitzrovia, London W1W 7EG

Subversive Stitch

Nike + Jöklasoley

In 1984, feminist art historian Rozsika Parker published ‘The Subversive Stitch – Embroidery and the Making of the Feminine’, in which she explored the sociocultural and gendered connotations of sewing and stitching across Western history. Now in 2019, TJ Boulting presents 'Subversive Stitch', a group show examining the legacy of embroidery today – another step in the creation of a contemporary canon of fabric as a serious artistic medium. Review by Anna Souter

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M100, Søndergade 26, Kld. 5000 Odense C. Denmark

Louise Sparre: Vibrant

Louise Sparre, view of the front room

Louise Sparre’s solo exhibition ‘Vibrant’ is like a journey into the body. It begins with works that refer to the body’s surface, such as ‘Adaption’ and ’Fabric Object’, which respectively relate to the skin and the vagina as border areas between outer world and inner body. Text by Mette Kjærgaard Præst

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dlr Lexicon, Haigh Terrace, Moran Park, Dún Laoghaire, Ireland

Paul Hallahan & Lee Welch: And the tide was way out

Paul Hallahan & Lee Welch: And the tide was way out, dlr Lexicon, 2019

In ‘And the tide was way out’ we are presented with two distinct approaches by the artists to painting, and while they converge in two works at the centre of the main gallery space, their divergence dominates the duo exhibition. Review by Aidan Kelly Murphy

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Ashmolean Museum, Beaumont Street, Oxford OX1 2PH

Jeff Koons

Gazing Ball (Rubens Tiger Hunt)

There’s a frustrating quote from Jeff Koons in the catalogue accompaniment to a new exhibition of his artwork at the Ashmolean Museum in Oxford. “I’ve tried to make work,” it says, “that any viewer, no matter where they came from […] would have to say that on some level “Yes, I like it.” If they couldn’t do that, it would only be because they had been told they were not supposed to.” Review by Rowland Bagnall

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Collective, City Observatory, 38 Calton Hill, Edinburgh EH7 5AA

Emmie McLuskey: these were the things that made the step familiar

these were the things that made the step familiar, Collective, 2019

The eight large scale screen print collages, audio works, printed matter and gymnastic ‘furniture' that make up Glasgow-based artist Emmie McLuskey's installation at Collective look at the shared poetics of the filmmaker and choreographer by analysing, describing and recording the body, through its interactions and its gestures, between rest and motion. Review by Alex Hetherington

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25 Albert Drive, Glasgow G41 2PE

Cécile B. Evans: AMOS’ WORLD

Cecile B. Evans, AMOS' WORLD, Tramway (2019).

‘AMOS’ WORLD’ is a highly staged, three-part, telepathic and narcissistic TV soap opera, strewn with the vernacular of a therapy session and the persuasive mantras of the executive suite, the property developer and the city planner. Review by Alex Hetherington

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