Cell Project Space, 258 Cambridge Heath Rd, London E2 9DA
It is fitting that the accompanying exhibition text for ‘A Failed Play’, written by Anna Sophie-Berger herself, opens with a story that leaves out the play entirely. The focus is on everything but - Beckett’s declaration of it as a failure, his begrudging agreement to translate it for publication in English, and the fight that ensued over copyright following his death. Review by India Nielsen
Fondazione Merz, Via Limone, 24 10141 Torino
Solo Da Bambini (Only as a Child) is a complex, yet detailed and multifaceted exhibition about childhood - as understood from the points of view of both young people and their parents.
Marian Goodman Gallery, 5-8 Lower John Street, London W1F 9DY
‘Photography, A Wonderfully Inadequate Medium’ presents an extensive exhibition by the late American artist and writer Allan Sekula (1951-2013). While the title aims to highlight the medium’s aporias, the show extends across photography, performance, text, and video, contrasting photography’s material mediations with its claim to realism. Review by Hugh Nicholson
MK Gallery, 900 Midsummer Blvd, Milton Keynes MK9 3QA
Milton Keynes is quite unlike any other place in the UK. A new, modernist town built in the 1960s to provide somewhere to live for people who worked in London. A town built out of concrete, marble and glass. A town built on a grid. A few decades later the place became known as a haven for various subcultures; ravers, skateboarders and boy racers all flocked to the town, youthful rebellion disrupting the grid. Review by Ryan Hughes
VITRINE, Basel, Vogesenpl. 15, 4056 Basel, Switzerland
VITRINE, Basel’s current group exhibition explores how transient artworks are challenging the existing systems of value surrounding art. ‘If it’s not meant to last, then it’s Performance’ brings together work by Tim Etchells, Paul Hage Boutros, Sophie Jung, Clare Kenny, Hannah Lees, Wil Murray, and Rafal Zajko. Alys Williams, the curator, talks about how the exhibition came to be and the ways in which performance is reshaping the art market. Interview by Susie Pentelow
Whitechapel Gallery, 77-82 Whitechapel High St, Shadwell, London E1 7QX
'Is This Tomorrow?’ has invited architects and artists to work together to create a series of installations on the future, many of whom are working together for the first time. But whereas the 1956 exhibition aimed to position the arts as a positive and driving force for society, in ‘Is This Tomorrow?’ it is wider developments, be they technological, social or political, that become the dangerous forces the collaborators seek to address. Review by Bernard Hay
6, Roppongi, Minato City, Tokyo, Japan
![Alter, [* Still image from: Justine Emard, Soul Shift, 2018, Video 6 min.]](https://tit-assets.s3.amazonaws.com/articles/4038/698_l__large.jpg)
Every three years the Mori Art Museum organises a new edition of ‘Roppongi Crossing’, a survey exhibition that presents a “snapshot” of Japan’s contemporary art scene. Begun in 2004, this year’s take on recent goings-on has been organised by the in-house curatorial team of Tsubaki Reiko, Tokuyama Hirokazu and Kumakura Haruko around the theme Connexions. Review by John Gayer
Bloc Projects, 71 Eyre Lane, Sheffield S1 4RB
Six vividly-coloured paintings hang in the exhibition space at Bloc Projects, a small artist-led gallery in Sheffield presenting an entirely new body of work by British-Nigerian artist Joy Labinjo. Most focus on an individual or two against a bright, opaque background; the paintings are large, smooth and confident in their application, and bold and graphic in their style. Review by Clare Robson
Regen Projects, 6750 Santa Monica Blvd, Los Angeles, CA 90038, USA
‘But I Woke Jus’ Tha Same’ is a solo exhibition featuring Christina Quarles’ new paintings and drawings in which she explores how bodies interact in social environments. At first glance, her command of a rich artistic language—gestural and controlled, textured and flat, biomorphic and angular—makes her work immediately intriguing. Review by Vivian Chun-Wei Lin
Fabrica, 40 Duke Street, Brighton, BN1 1AG
On one of the hundreds of yellow plastic segments cut and woven together to form Serge Attukwei Clottey’s monumental tapestry work, someone has written in black marker, so small you might miss it amongst the waves of bright colour, “Exodus 17”. It’s unclear if the scribbled allusion has been added by the artist or whether it remains from the material’s previous life as a jerry can, used to carry cooking oil and then water in drought-hit areas of Ghana. Review by Adam Heardman
17-19 Triton Street, Regents Place
PANEL: Sol Bailey-Barker, Nissa Nishikawa, Daniel Hudson, Extinction Rebellion & Colin Tudge. Chaired by Gabriella Sonabend. A panel discussion organised as part of exhibition 'Sisyphus in Retrograde' at 17-19 Triton Street, Regents Place, London until May 4th 2019.
LADA
A compilation of greatest hits by the extraordinary artist Katherine Araniello who died in February 2019. Katherine’s work used performance, video and subversive humour in response to the mundane, social awkwardness and the negative representation of disability.
Hauser & Wirth, 23 Savile Row, London W1S 2ET
Hauser & Wirth, working closely with the artist before her death and with Ivan Gallery, has put together a museum-quality exhibition of this remarkable artist’s work. The show draws together pieces from the last decade, a period in which Brătescu’s practice focused on working with the line as a structuring principle. Review by Anna Souter
