Nederlands Fotomuseum, Gebouw Las Palmas, Wilhelminakade 332, 3072 AR Rotterdam
Rein Jelle Terpstra’s ‘The People’s View’ looks back at one of 1968’s most memorable moments to gather Americans together in disbelief: the funeral train of Democratic Presidential candidate Robert F. Kennedy, which travelled from New York City to Washington DC, on 8 June 1968. Review by Nicola Jeffs
SFMOMA, 151 Third St, San Francisco, CA 94103
Best known for her photorealist drawings and paintings in monochrome or grey tones, Celmins’ work has always shown a fascination with what we see, how we see it, and the experience of seeing itself. ‘To Fix the Image in Memory’ presents some of Celmins’ most iconic works. Review by Rosanna van Mierlo
Camden Arts Centre, Arkwright Road, London NW3 6DG
Slightly obscured by a mass of literary and cinematic citations Beatrice Gibson’s ‘Crone Music’ contains a powerful narration of maternal fantasies and a study of the anxieties of millennial parenthood. Review by Piers Masterson
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Gasworks, 155 Vauxhall Street, London SE11 5RH
For Libita Clayton’s first UK solo show the artist presents ‘Quantum Ghost’, an interlinked two-part encounter with the politics inherent to her familial heritage and the journey it took to give agency to its legacy. Review by Sophie Risner
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Chisenhale Gallery, 64 Chisenhale Rd, London E3 5QZ
Ghislaine Leung’s exhibition at the Chisenhale Gallery evades concise summation. Description becomes easily lost in particularities, or overlooks specific works altogether. Review by Hugh Nicholson
Cell Project Space, 258 Cambridge Heath Rd, London E2 9DA
At the end of a long outdoor corridor filled with palms and tropical plants is Rosa Aiello and Patricia L. Boyd’s exhibition ‘Joins’ at Cell Project Space in East London. Bringing together a series of recent works, in addition to two spatial interventions in the gallery, the show explores the infrastructures that produce contemporary domestic space. Review by Bernard Hay
Tanya Bonakdar Gallery, 521 W 21st St #1, New York, NY 10011, USA
Brazilian artist Laura Lima’s work has infamously flouted even the most provisional classifications art discourses run on today, let alone the traditional ones. Based in Rio de Janeiro, and initially spurred on by interests in law and philosophy, Lima continues to cultivate a body of work that builds on post-relational art concerns and the aesthetic, if not political, principles espoused by the fallout of the Brazilian Neo-Concrete Movement, in both theory and practice. Review by Arthur Ivan Bravo
Institute of Contemporary Art, University of Pennsylvania, 118 S. 36th Street, Philadelphia, PA, USA
Cecilia Vicuña’s first major solo exhibition presents a delicate balancing act between the large- and small-scale, and between works that are explicitly political and those that are more personal. Combining textiles, video, found objects, wood, paper, poetry, and more, ‘About to Happen’ is grounded in the artist’s dedication to her craft and to her advocacy, often making the most impact with the most intimate, fragile works. Review by Deborah Krieger
arebyte Gallery, 7 Botanic Square, Leamouth Peninsula, London E14 0LG
‘RE-FIGURE-GROUND’ asks us to re-examine our current positions and proposes alternative futures that go beyond the boundaries of race, gender and sex. Review by Julia Schouten
Van Gogh Museum, Museumplein 6, 1071 DJ Amsterdam, Netherlands
This is about perspective. In his landscapes, David Hockney, wants to challenge the ways people have learned to look at things. In the film which introduces ‘The Joy of Nature’, Hockney appears on-screen, a mixture of understated British chic and colourful Los Angeles ostentation, like a hipster Toby Jug. “In a way,” he muses, “Nature doesn’t really have perspective.” Review by Adam Heardman
Kohta, Teurastamo inner yard, Työpajankatu 2B, building 7, 3rd floor, 00580 Helsinki, Finland
How strange to step from snow-filled streets and the twilight of a late winter afternoon in Helsinki into Kohta’s radiant space and find oneself confronted by scenes executed in similarly atmospheric and subdued tones. Looking reveals an unfamiliar world, fashioned by Britta Marakatt-Labba’s unique cultural background and artistic approach. Review by John Gayer
