Centro de Cultura Contemporânea de Castelo Branco, Campo Mártires da Pátria, S/N (Devesa) 097, 6000 Castelo Branco, Portugal

Cristina Rodrigues

Cristina Rodrigues’ retrospective at Centro de Cultura Contemporânea in Castelo Branco sits well in the historic Portuguese town that boasts of a rich and varied textile heritage. While reviving the declining age-old tradition, Rodrigues brings into the mix a cross-cultural confluence that bring to the fore diverse contemporary concerns. Review by Ambika Rajgopal

Further reading +

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

Dreamers Awake

The bodies without eyes, without hands, fragmented and uncanny, as portrayed by the multiple generations of female artists presented in ‘Dreamers Awake’ hijack Surrealist tropes and techniques, and both reproduce and resist the voyeuristic gaze. Review by Anya Smirnova

Further reading +

The Hepworth Wakefield, Gallery Walk, Wakefield, West Yorkshire WF1 5AW

Howard Hodgkin: Painting India

In his paintings of India – great, gestural strokes of colour – Howard Hodgkin sought to show the fleeting moments and conversations that form an impression of a place. Review by Phoebe Cripps

Further reading +

Whitechapel Gallery, 77-82 Whitechapel High St, London E1 7QX

Benedict Drew: The Trickle-Down Syndrome

‘The Trickle-Down Syndrome’ is a large-scale installation, which consists of five interconnected yet individual rooms, inspired both by 1930s backdrops of Hollywood director Busby Berkeley and the Surrealist works of Max Ernst. Review by Fiorella Lanni

Further reading +

Bermondsey Square, London

Lucy Tomlins: Pylon and Pier

In between the glass-fronted perimeters of Bermondsey Square, on the tiled ground, stands an empty plinth. This robust hexagon, coated a light beige to match the innocuous colour scheme of the commercial properties, could well be a part of the developer’s vision. It is sympathetic to the clusters of metal octadecahedron inevitably installed to add interest and dynamism to an otherwise anaesthetised square. Cleo Roberts reviews.

Further reading +

Kavi Gupta, 835 W. Washington Blvd., Chicago, IL 60607

Glenn Kaino: Sign

In his upcoming exhibition, Sign, at Kavi Gupta, Chicago, Glenn Kaino directly challenges the signifiers of colonial action: objects which encode the terms of traversal, demarcate ownership, and crystallize territory into the social contract. Maps, flags, signs, and peace agreements all have one thing in common, they are symbolic markers of man’s assertion of his ownership of his world.

Further reading +

Lily Brooke, 3 Ada Road, London, SE5 7RW

Eva Gold: A Bead of Sweat, Stilled

Drawing on a broad framework of cinematic references, for her upcoming exhibition at Lily Brooke, Eva Gold presents an installation comprising several individual sculptures. Situated within a broader exploration of filmic spaces, Gold here extends her analysis of the cinematic landscape as memory site.

Further reading +

Barbican Centre, Silk St, London EC2Y 8DS

Trajal Harrell: Hoochie Koochie, A performance exhibition

Enter into the Barbican’s gallery space, and an audience is huddled around a trio of young male dancers in loose, draped clothing, shuffling on tiptoe and making gentle reaching arm movements. Evie Ward reviews Trajal Harrell: Hoochie Koochie, A performance exhibition.

Further reading +

Chewday's, 139 Lambeth Walk, London, SE11 3EE

Bryan Dooley: Public Death

Public Death is the theatrical result of Bryan Dooley's research into dormant patents, currently owned by Google, designed to move data farms out to sea. Dooley’s installation plays on themes of circulation, cultural signification, technological progress, and inevitable disaster.

Further reading +

Kunstverein Harburger Bahnhof, im Bahnhof über Gleis 3 & 4, Hannoversche Straße 85, 21079 Hamburg

Christopher Kulendran Thomas: 60 million Americans can’t be wrong

Christopher Kulendran Thomas’ family is from a place that no longer exists. For three decades during the Sri Lankan civil war, “Eelam” was self-governed as an autonomous state led by a neo-Marxist revolution.

Further reading +

Chisenhale Gallery, 64 Chisenhale Road, London E3 5QZ

Yuri Pattison: user, space

A long table surrounded by Ikea-style chairs runs through the centre of the gallery, while in one corner, a separate environment for relaxing houses oversized cushions and shelves of plants. And everywhere, there is the physical manifestation of tech: wires, adapters, servers, computers, and cameras, creating a cacophony of noise that hums throughout the installation. Review by William Rees

Further reading +

Victoria Miro Mayfair, 14 St George Street, London W1S 1FE

Kara Walker: Go to Hell or Atlanta, Whichever Comes First

The facelessness interrupts personal empathy, forcing the viewer to observe from a distance. There is no possibility for intervention, we are powerless and we have failed. Benjamin Murphy responds to Kara Walker's current exhibition at Victoria Miro Mayfair.

Further reading +

Barbican, Silk St, London EC2Y 8DS

Eddie Peake: The Forever Loop

The spine of the exhibition is ‘Revolution’ - a 30-minute video displayed on five monitors throughout the gallery and accompanied by a live choreographed performance. This mash up of dancers in a studio performing strong, synchronised choreography, Kool FM DJs jamming to Drum & Bass and Peake family home videos dictates the throbbing, erratic rhythm that permeates the space. Review by Alex Borkowski

Further reading +

LADA

LADA Screens: Neil Bartlett

A Vision of Love Revealed in Sleep is Neil Bartlett's one-man homage to the pre-Raphaelite painter Simeon Solomon originally made in 1987 and re-performed at Tate Britain as part of the Queer British Art exhibition in July 2017.

Further reading +