Workplace, The Old Post Office, 19-21 West Street Gateshead, Tyne & Wear NE8 1AD

Emily Hesse: The Taste of this History: A Church in my Mouth

Hesse’s questioning of her own proximity to the notional centre of the art is illustrated by the circle drawn on the gallery floor that the pin hangs above - is she inside or outside the circuit of acceptance? The artist can be heard reading from her book ‘Black Birds Born from Invisible Stars’ which details touchingly her frequently disenchanting encounters with art institutions. Review by Piers Masterson

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MCA Denver, 1485 Delgany Street, 80202, USA

Tara Donovan: Fieldwork

On a physical and material level, but most crucially on a metaphysical and referential plane, Donovan's works multiply, fold and expand beyond the sum of their parts. Review by Rosanna van Mierlo

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Thomas Dane Gallery, 3 Duke Street, St James's, London SW1Y 6BN

Amie Siegel: Backstory

Amie Siegel’s exhibition ‘Backstory’ at London’s Thomas Dane Gallery opens with an unassuming series of works on paper. ‘Body Scripts’ (2015) consists of framed pages from a novel by Italian novelist Alberto Moravia that was the inspiration for Jean-Luc Godard’s classic film ‘Contempt’ (1963). Using only pages that feature the female protagonist, the artist uses sea-blue paint to erase phrases and sentences that don’t directly refer to the character. The result is an architectural geometry that flows from frame to frame and creates a visual context for the actions of the protagonist. Review by Anna Souter

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William Benington Gallery, unit 3, 50 Tower Bridge Rd, London SE1 4TR

An Arrangement in Two Halves, a Bench in Two Parts

This is a show in two parts, the first of which blurs the artistic personas of the two artists in displaying a deconstructed functionless kit of parts throughout the gallery space, before – in part two – being reconfigured into a bench and other wall-based pieces, at which point the two artists’ practices are clearly delineated. Review by Matthew Turner

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LADA

LADA Screens: George Chakravarthi

Barflies present representations of different femininities embodied by transvestites and cross-dressers performing the pleasures, fears and dangers of being in public ‘en femme’.

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White Cube Bermondsey, 144 – 152 Bermondsey Street, London SE1 3TQ

Christine Ay Tjoe: Black, kcalB, Black, kcalB

Christine Ay Tyoe’s second exhibition at White Cube presents the artist in a darker, pensive, more Gothic mood than her more colourful debut here in 2016. Half the works shown are a series of aluminium etching plates on which the artist has drawn in black ink a bestiary of her familiar grotesques. Review by Piers Masterson

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Lily Brooke, 3 Ada Road, London SE5 7RW

Evy Jokhova: Weighed down by stones

At Lily Brooke, Evy Jokhova’s latest installation ‘Weighed down by stones’ is archaeological, concerning the weight of the past upon the present and the possibility of returning to it. Review by Jacob Charles Wilson

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ICA,The Mall, St. James's, London SW1Y 5AH

Metahaven: VERSION HISTORY

For ‘Version History’, their current exhibition at the ICA in London, the collective have brought together three recent films and a digital essay to reflect on the loss of truth that arises from our collective immersion in digital technologies. Review by Bernard Hay

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Victoria Miro, 14 St George St, Mayfair, London W1S 1FH

Ilse D’Hollander

In much the same way as Francesca Woodman though, whose early death at the age of just 22 has made her into something of a cult figure, D’Hollander’s paintings are cast in the shadow of her personal history. Review by Claire Phillips

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Rennes

Rennes Biennale 2018: Cries and Echoes

Siham and Hafida are two singers of the Aita, a musical genre of the Chikha. Their intergenerational conversations throughout the film give insight to how lived experience is transmitted and challenged by the fact that the younger generations learn the treats of the Aita through clips on youtube. Review by Helena Julian

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

Affinity and Allusion

‘Affinity and Allusion’, the opening project at the new expanded Collective on Edinburgh’s Calton Hill, does not refer to a group show as such, as one might expect for the relaunch, or remaking and reimagining of an institution like this, but is rather a title of intention, focus and scope around the nature of exhibitions and displays, given to a cluster, or constellation (the theme of astronomy is in abundance here, given that the site is a former observatory), of complex activities. Review by Alex Hetherington

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Goldsmiths Centre for Contemporary Art, St James's, London SE14 6AD

Kris Lemsalu: 4Life

For her first solo exhibition in London, ‘4LIFE’, multidisciplinary artist Kris Lemsalu transforms the upstairs galleries at Goldsmiths Centre for Contemporary Art into a supernatural realm, occupied with otherworldly, absurdist characters that guide you through stages of birth, life and death. Review by Julia Schouten

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The Hepworth Wakefield, Gallery Walk, Wakefield WF1 5AW

The Hepworth Prize for Sculpture

Now in its second edition, the biannual £30,000 Hepworth Prize for Sculpture, presents us with five artists that serve to answer the question, ‘Where is contemporary sculpture headed?’ in one absolute way: everywhere and anywhere. With nothing off limits, everything and the kitchen sink can be found in this year’s shortlisted works, even some anticlimactic human hair … Review by Kit Edwards

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Nottingham Contemporary, Weekday Cross, Nottingham NG1 2GB

Still I Rise: Feminisms, Gender, Resistance

‘Still I Rise: Feminisms, Gender, Resistance’ is the first act of an exhibition showing a kind of history of resistance through the means of feminisms and intersectional queer thinking. The curators started to build the exhibition as an idea two years ago. Then, we didn’t have #metoo and #timesup, Trump wasn’t yet the POTUS, women’s marches weren’t so much in the news ... Review by Gulnaz Can

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