Centrala, Birmingham
In the intimate setting of Centrala, Birmingham, US mixed media artist, Matana Roberts and British sound artist/improviser, Kelly Jayne Jones were sat on either side of the stage...
Guggenheim Museum, Bilbao, Abandoibarra Etorb., 2, 48009 Bilbo, Bizkaia, Spain
What becomes apparent in the latter stages of the exhibition is a sense that many of the exhibition’s themes collapse into one another. 2008 is painted as a pivotal moment where the Beijing Olympics act as an affirmation of China’s ascent to global power, yet the Sichuan earthquake happened only a month before. Review by Stanley Portus
Yorkshire Sculpture Park, West Bretton, Wakefield WF4 4LG
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The use of wood, twigs and leaves in his work seems to recall Penone’s artistic output of the 60s and 70s, as part of the Italian art movement ‘Arte Povera’ (Poor Art), which placed an emphasis on the use of throwaway materials. However, today, Penone does not shy away from monumentalizing mediums. Review by Kristina Foster
New College, Oxford, Holywell St, Oxford OX1 3BN
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Born into a family of writers, artists and politicians, British Sculptor Emily Young found an affinity to sculpting from an early age; influenced by her grandmother, the sculptor Kathleen Scott, a colleague of Auguste Rodin and widow of the explorer Captain Scott of the Antarctic. Review by Paul Black
The Bluecoat, School Ln, Liverpool L1 3BX
Gradually, our eyes make way for our ears: we attune ourselves to an aural experience rather than the anticipated visual encounter. Harmonies and melodic rhythms all glide – and bounce – their way across the installation. Review by Selina Oakes
Cabinet Gallery, 132 Tyers St, Lambeth, London SE11 5HS
Olde Food has a surface but no nourishing inner content; credits to a film are shown that never started nor did it ever have a core narrative or story; a soaked and constantly crying man looks for sympathy from the viewer, without the capacity to learn there is none forthcoming. Review by Matthew Turner
IMT Gallery, 2, 210 Cambridge Heath Rd, London E2 9NQ
Roberts is tapping into the current zeitgeist around post-human or extra-human forms of intelligence via specific texts, fauna and digital tools. Whilst there are many artists working with and around these now, along with Roberts, it is her method of ‘fictioning’ and the open-ended, discursive nature of her work that elevates her current exhibition, Glimmer Breach, at IMT Gallery. Review by Lauren Velvick
Gallery Oldham, Oldham Cultural Quarter, Greaves St, Oldham OL1 1AL
On 20 March 2018, the last male White Northern Rhino (who lived in the Ol Pejeta Conservancy in Kenya, under the watch of armed guards to protect him from illegal poachers) was put down. The media reported the event extensively, as you might expect. But what about the other 3 to 136 less ‘glamorous’ species that quietly slip into extinction every day without mention? Review by Sara Jaspan
Edel Assanti, 74A Newman St, Fitzrovia, London W1T 3DB
Noémie Goudal’s photographs are full of unsettled contradiction. The product of constructions, they lie between truth and fiction, the ancient and the new, managing to be both unified and fragmented, existing in a state of instability. Review by Kaitlyn Kane
LADA
Kaputt, Academy of Destruction was a project inviting young people to look at questions of destruction in art. It took place at Tate Exchange, London in October, 2017.
OUTPOST, 10b Wensum Street, Norwich, NR3 1HR, UK
Taking G L A M O R O U S - the most memorable line from Fergie’s popular R&B hit (of the same name) as a starting point, I present and dissect the word "glamorous".
Plymouth Arts Centre, 38 Looe St, Plymouth PL4 0EB and Plymouth College of Art, Tavistock Pl, Plymouth PL4 8AT
It seems near impossible to refer to the style of a Rose Wylie painting without mentioning the word childlike. Even on canvas, brush-strokes and mixes of paint still carry the instinctive childlike motion of the impulsive hand that struck them there. Review by Eva Szwarc
Transfer Gallery, 1030 Metropolitan Ave, Brooklyn, NY 11211
Contrary to the exhibition’s title, which suggests a state of stasis, Holberton’s work oscillates between analogue and digital, animate and inanimate, in order to destablise the notion of these binaries, and explore the possibility of a third space. Review by Grace Storey
