The Power Plant, 231 Queens Quay W, Toronto, ON M5J 2G8, Canada

Kader Attia: The Field of Emotion

Amid the celebrations of Canada’s 150th birthday last year, there prevailed an anxiety surrounding its colonial origins, and the efforts to reconcile past and continuing mistreatment of its indigenous groups with its modern national identity. It’s within this context that French artist Kader Attia stages his first major exhibition in the country, Fields of Emotion at the Power Plant, Toronto. Presenting a series of works dealing with political and individual traumas, Attia traces a thread of genealogies and histories which offset sanitized narratives and explores the lingering impact of atrocities left unaddressed or disavowed. Review by Alec Kerr

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Ikon Gallery, 1 Oozells Square, Brindleyplace, Birmingham B1 2HS

Langlands & Bell: Internet Giants: Masters of the Universe

Internet Giants: Masters of the Universe at Birmingham's Ikon Gallery is a timely mediation on how dominant technology behemoths, like Facebook, have completely reshaped our cultural and social landscape. Teasing out these complexities through new sculptural and digital works, artists Langlands & Bell question if the opulent mega campuses of Apple and Google will define our age. Review by Jack Welsh

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Cubitt, 8 Angel Mews, London N1 9HH

Hardeep Pandhal: Liar Hydrant

The video works layer lurid cartoons, psychedelic narratives and deadpan rap music; they are accompanied by production drawings and a sculpture. Edmée Lepercq reviews Hardeep Pandhal's solo exhibition at Cubitt.

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Assembly Point, 49 Staffordshire Street, London SE15 5TJ

Lilah Fowler: nth nature

The city is striated into manifold ordered grids that similarly control our movements. The Nevada desert on the other hand, one of the locations Lilah Fowler explored for her show at Assembly Point, has no such boundaries and borders – it has an order more in common with a modulating weather system than any Cartesian geometry. Review by Matthew Turner

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Modern Art Oxford, 30 Pembroke St, Oxford OX1 1BP

Cinthia Marcelle: The Family in Disorder: Truth or Dare

Upon entering the upper gallery of Modern Art Oxford, there is something slightly reminiscent of an art foundation course exhibition in 'The Family in Disorder: Truth or Dare' (2018), an installation of 'exploded' materials, as if students had been asked to explore those materials, languages, and meanings, resulting in a rather haphazard assemblage. Review by Paul Black

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Zabludowicz Collection, 176 Prince of Wales Rd, Belsize Park, London NW5 3PT

Zabludowicz Collection Invites: Hazel Brill

Hazel Brill’s new video installation ‘Woke Up in Spring’ presents a compendium of media and cultural references that build up a layered picaresque of the artist’s exploration of her environment. Review by Piers Masterson

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Museum of Contemporary Art Australia, 140 George St, The Rocks NSW 2000, Australia

21st Biennale of Sydney: SUPERPOSITION: Equilibrium & Engagement

Artistic Director Mami Kataoka utilizes the concept of Superposition as a metaphor for the 21st Biennale of Sydney. Superposition is a theory borrowed from quantum mechanics, it posits that different, even seemingly conflicting, components are held in suspension - equal in their difference and vital to the whole. This metaphor seeks to bring the different threads, directions, contradictions and loose-ends that exist in our contemporary world into a (utopian) balance. Review by Kathleen Linn

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KARST Gallery, 22 George Pl, Plymouth PL1 3NY

Assembled Spaces

Assembled Spaces brings together the work of Tine Bay Lührssen, Nina Brauhauser and Ilka Helmig in their UK debut. The artist trio combine photography, sculpture and traditional and digital drawing with a considered harmony in the arrangement of the works. They zigzag between each other, creating a visual conversation which dictates no linear instructions, nor a start or end point, to the viewer’s navigation. Review by Eva Szwarc

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Cordova, Carrer de Portugalete, 15, 08014 Barcelona, Spain

Siera Hyte: Honey Week

Inspired by ‘The Butterfly’s Evil Spell’ (1920), Federico Garcia Lorca’s first ever play, Sierra Hyte’s ‘Honey Week’ is an invitation to participate in an almost theatrical setting in which humans, animals and creatures alike are welcome to partake of the space. Review by Marta Faria

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Temple Bar Gallery + Studios, 5 - 9 Temple Bar, Dublin 2, Ireland

Katrina Palmer: The Time Travelling Circus: The Recent Return of Pablo Fanque and the Electrolier

Her two-tone and inverted printing, combined with these notations, help turn the map into a celestial chart for navigating the tale. Along with this map, Palmer presents a pair of audio recordings, featuring a ‘silent’ reading room within the gallery, circus tunes, sampled music, as well as a dual voice recording. Review by Aidan Kelly Murphy

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Kettle’s Yard, University of Cambridge, Castle Street, Cambridge CB3 0AQ

Actions. The image of the world can be different

Kettle's Yard in Cambridge re-opens following a multi-million pound redevelopment of its galleries and public spaces and takes this question, and its possible answers, as a starting point. It features the work of 38 practitioners whose works fill the galleries, the on-site historic house and a nearby church, as well as occupying space online and being emblazoned on the uniform of the front of house staff. This exhibition is expansive. Review by Ryan Hughes

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