Placing the ‘Expressions’ exhibition in direct dialogue with the ‘Feminist Library on Loan’ at The Showroom shows that local histories of women and non-binary people are important. Together, the two projects manifest a visible platform exposing the experiences of those living in the Church Street Ward in the context of feminist chronicles. Review by Ashley Janke
Spellbound is an exploration of meaning; instead of being disturbing for the reasons one might expect - it is in fact rather sad - it conjures a world where individuals struggle to guard against misfortune - to use the only defence they have against loss - that of magical thinking; and it becomes evident that we still possess that thought process today: in the form of the lovers’ padlocks cut from Leeds Centenary Bridge - a contemporary act of ritualistic magic, still existing in a western secular society. Review by Paul Black
The religious aspects of the exhibition are divided. Some works stand as testament to Jackson’s enigmatic international appeal. One room contains footage from the 1992 Dangerous world tour, revealing delirious crowds, a mass euphoria even outstripping Beatlemania: while the Fab Four played to 55,000 people at Shea Stadium in 1965, Jackson’s concert in Bucharest is estimated to have been attended by nearly 100,000. And the numbers don’t stop there: more than 1,000,000 fans are said to have congregated outside Jackson’s memorial service at the Staples Centre in Los Angeles, while the televised spectacle itself is said to have been watched by more than 1,000,000,000 people worldwide. “We’re more popular than Jesus,” said Lennon of the Beatles in 1966. One wonders where this places Jackson. Review by Rowland Bagnall
For an artist whose work often deals with fantasy and simulation, Las Vegas is an ideal subject for Brill, its evolution as a setting for desire, is a perfect mirror for her distinctive, cinematic and kaleidoscopic installations. Review by Piers Masterson
As the exhibition attempts to showcase an emerging contemporary art scene in the North East, Lenihan and Meikle while critiquing the banal geographical rubric used by the current Great North Exhibition – this exhibition is not part of the official programme – the pair insightfully identify ‘restorative nostalgia’ and the appeal of the ‘off-modern’ as two subjects that fixate the cultural landscape of the region. Review by Piers Masterson
The Infinite Image is an exhibition that brings together five impressions made from Mesopotamian cylinder seals (c.3000- c.300 BCE) with five contemporary painters who use diverse strategies to resuscitate, reactivate, and recombine art-historical images and motifs.
Selected as part of the 2018 LADA Screens Open Call, “Overshoot Day” is a film shot in vast marble quarry, featuring artist Nicola Fornoni using his mouth to keep a glass with a drop of water in it raised in the air for an hour and a half.
Mary Corse’s first major UK show at Lisson Gallery, London, is as much a scientific inquiry as it is art. Newtonian science extracts emotion from the situations it is used to examine, the same, by extension, could be said of its strange alter ego quantum mechanics. Review by Matthew Turner