Hestercombe Gallery, Cheddon Fitzpaine, Taunton, Somerset TA2 8LG

Odyssean: Topographies

Beginning high up in the Orkney Isles and journeying to the South West of England, ‘Odyssean: Topographies’ is a cognitive, visual and, at times, physical expedition into hidden and imagined spaces. The culmination of four artists' Orkney-based residencies, the exhibition throws into question the ways in which humans formulate perceptions of nature and place in an era rife with technology. Review by Selina Oakes

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650mAh, Mist Vape Shop, 41 Western Road, Hove, BN3 1JD

Jack Lavender - Sorry I haven’t been

LED lights trace the floor’s edge and bathe the room in a purple haze. The beams evoke the luminescence of whizzing cars on the motorway and trigger nostalgic memories of long night-time drives and the open road – Lavender’s car hurtles down a motorway of a bygone time. Review by Sophie Ruigrok

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Rotterdam, Netherlands

International Film Festival Rotterdam

The International Film Festival Rotterdam 2018, now in its 47th edition, flirts with the boundaries of art and film throughout the city with powerful and exciting works by Nicolas Provost, Hiwa K, Agnieszka Polska and Artur Zmijewski among others. But just how far does the synthesis between cinema and fine art achieve new experiences in viewing? Review by Laurence Scherz

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

Thomas Bock and Edmund Clark: In Place of Hate

The first UK-exhibition dedicated to the work of the Birmingham-born convict artist, Thomas Bock (c.1793 – 1855), at Ikon Gallery in Birmingham, is paired with the concurrent exhibition, Edmund Clark: In Place of Hate. This was the the result of a three-year residency spent by the artist at HMP Grendon – Europe’s only entirely therapeutic prison. Despite widely differing careers they both viscerally remind us of the dangers of denying any person a sense of identity. Review by Sara Jaspan

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Cass Sculpture Foundation, New Barn Hill, Goodwood, West Sussex PO18 0QP

The Sleeping Procession

‘The Sleeping Procession’, a bright and upbeat group exhibition curated by emerging artists Gabriel Hartley and Sean Steadman occupies the gallery with ease. It is a jovial gathering, inspired by the Foundation’s archive of maquettes which the pair have put in dialogue with works by their peers and a number of artists whose work they have found influential. Review by Rebecca Partridge

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Chelsea Space, 16 John Islip St, London SW1P 4JU

Ian Giles: After BUTT

When does a cultural artefact – a magazine, a film, an artwork – cease to be considered what we might call ‘contemporary’ and enter the realm of the historical? A minute ago? Yesterday? The turn of the millennium? Once its creator/s have passed away? Not until it starts to have what might be called a legacy? Helena Haimes reviews ‘After BUTT’ by Ian Giles, new film currently showing at London’s Chelsea Space.

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Pump House Gallery, Battersea Park, London SW11 4NJ

Sriwhana Spong: a hook but no fish

Sophie Risner reviews a presentation of work by Sriwhana Spong which takes the work of twelfth century female mystic named Hildegard von Bingen as its central reference point.

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Baltic Centre for Contemporary Art, S Shore Rd, Gateshead NE8 3BA

Susan Philipsz: A Single Voice

Susan Philipsz’s work has often been described as a form of ‘sound sculpture’ that you hear long before you see it. The exact significance behind A Single Voice is not perfectly clear. Philipsz has pointed out that the apocalyptic story of Aniara holds just as much relevance today as when the poem was first written in 1956 (arguably more), and the mournful quality of the deconstructed violin combined with the player’s stark isolation as she accompanies an invisible, inaudible orchestra through her headphones, could almost be read as a last chilling goodbye to the human race as it peters into extinction. Review by Sara Jaspan

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Nottingham Contemporary, Weekday Cross, Nottingham NG1 2GB

From Ear to Ear to Eye: Sounds and Stories from Across the Arab World

‘From Ear to Ear to Eye: Sounds and Stories From Across the Arab World’ at Nottingham Contemporary explores sound, music and listening in the Arab world, revealing different layers of meaning, intertwined histories, complicated political situations and complex questions. This expansive exhibition spreads across six rooms and showcases works by almost 20 artists who work with sound, are musicians or explore oral stories. Review by Roma Piotrowska

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Hauser & Wirth London, 23 Savile Row, London W1S 2ET

Monika Sosnowska: Structural Exercises

Monika Sosnowska is known for turning space into her canvas and the exhibition of new work by the artist currently on show at Hauser & Wirth’s space in Savile Row is no different. Titled ‘Structural Exercises,’ it is both a display of sculptures and an immersive installation – large scale structures extend in space so ambitiously as to transcend the boundaries between each other. Review by Anya Smirnova

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Mead Gallery, Warwick Arts Centre, Gibbet Hill Rd, Coventry CV4 7AL

Clare Woods: Reality Dimmed

The internet and advertising provide us with a constant barrage of images. In the face of this mass it can be hard to find meaning. Clare Woods' current exhibition at Mead Gallery is a direct refusal of this position. She presents only a handful of works to allow us a clarity of vision which is incredibly refreshing. Review by Ryan Hughes

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Chiba City Museum of Art: 3 Chome-10-8 Chuo, Chiba, Chiba Prefecture 260-0013, Japan

Tsuyoshi Ozawa: Imperfection: Parallel Art History

Tsuyoshi Ozawa not only interrogates modern Japanese art history, illuminating the unique and sometimes odd pathways it has taken, he also questions the acts of looking and showing. He is distinct from Takashi Murakami, who proudly proclaimed the value of forgotten history by pushing anime-like figures to the forefront. Ozawa keeps an unstable and ambiguous position, enjoying the diverse and imaginative visions sustained by his perspicacity and sense of humour. Review by Kodama Kanazawa

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

Hannah Ryggen: Woven Histories

Six years before her death in 1970, Ryggen became the first female artist to represent Norway at the Venice Biennale, and, in more recent years, has been the subject of several important retrospectives. As the relationship between politics and the public continues to find its twenty-first century feet, the uncompromising boldness of Ryggen’s tapestries, seen in her current exhibition, Woven Histories, at Modern Art Oxford, and their gentle interrogation of questions concerning nationality, identity, inequality and storytelling seem all too strangely close to home. Review by Rowland Bagnall

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South London Gallery, 65-67 Peckham Rd, London SE5 8UH

Ilona Sagar: Correspondence O

Like conducting an autopsy of her own subject matter, Ilona Sagar projects her film ‘Correspondence O’ on to a split screen, cut down the middle and opened out. The rest of the room is dark like an operating theatre after hours with its monitors left running, which continue to project the sterile blues and desaturated tones most often associated with hospitals. Review by Matthew Turner

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