Rowing, 3 Leighton Place, London NW5 2QL
Pilgrim’s exhibition is based on the idea that technology, like ecology, can facilitate beneficent exchanges between its users. The show’s main feature is a short film (22 minutes) also called ‘Software Garden’ (2017), which takes the structure of the diverse environment of a garden by combining work from a number of collaborators. Review by Henry Broome
Hannah Barry Gallery, 4 Holly Grove, Peckham, London SE15 5DF
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On the wall, hung off-centre in a 3 x 3 grid that recalls the conventional arrangement of Bernd and Hilla Becher’s water towers and grain elevators, are nine risograph prints. They belong to a series of photographs taken by Griffin at a flatland BMX competition in 2015, not of the riders or their performances, but of the streaks whorled by skidding tyres. Review by Kit Webb
Spike Island, 133 Cumberland Road, Bristol BS1 6UX
‘Common Ground’ showcases the importance of place in Andrea Luka Zimmerman's practice. At the centre of the exhibition is Zimmerman’s film ‘Estate, a Reverie’ (2015). It tracks the drawn out closure of the Haggerston Estate in East London, where Zimmerman lived for 18 years. Review by Helen Cobby
AirSpace Gallery, 4 Broad Street, City Centre, Stoke-on-Trent ST1 4HL
The spectral colours of ‘Psychedelic Western #3’ (2015) provide a rich exhibition excerpt – its vibrant and effervescent depictions of the Alabama hills are repeated in the show's wall-sized prints and theatrical screens. A feminine sigh welcomes you into the space, while deceptively light boulders – made from layers of polystyrene, fibreglass and jesmonite – catch your eye as they glisten under the gallery's spotlights. Selina Oakes reviews
Turf Projects, Keeley Rd, Croydon CR0 1TF
A simplicity of form is the essence of ‘Ways of Seeing’, Paul Schneider’s solo show at Turf Projects in East Croydon. Screen Beans, the now extinct graphics of the 90s Microsoft Office populate the gallery space of Turf Projects over and over again creating an immersive virtual experience. Review by Zoe Marden
Athens, Greece
Documenta 14: 'Learning from Athens' promised to address some of the current social and political issues facing Europe today by questioning its foundations: colonialism, patriarchy, gender-normativity and capitalism. Yet many feared that the exhibition tried to glamorise the ‘Greek crisis’ and capitalise on what is a very complex and difficult social and economic situation. What’s in it for Athens? Review by Anaïs Castro
Fabrica, Duke St, Brighton BN1 1AG
‘Onlar,’ in English, means ‘they’ but artist Ipek Duben says the word translates more accurately to ‘everyone who is not like us.’ In her multi-screen video installation ‘They/Onlar’, Duben presents the experiences of Turkey’s ‘others’: Kurds, Alevis, Armenians, Jews, Rum and Romanis as well as LGBT and covered women. Review by Ashley Janke
Cubitt Gallery, 8 Angel Mews, Islington, London N1 9HH
In the contemporary, the idea of ‘sanctuary’ is an interesting one. Helen Nisbet’s use of the word when describing ‘Houses are really bodies’, her debut installation as Cubitt’s latest Curatorial Fellow, strikes chords that place the show both within a dense history and at the forefront of the present. Review by Jack Smurthwaite
Firstsite, Lewis Gardens, High St, Colchester CO1 1JH
A site-specific painting, made over a ten-day period by Chinese artist Zhang Enli, wraps the entirety of Firstsite Gallery’s 140-meter curved interior wall. All year, the work will ensconce visitors in a teeming landscape comprised of Chinese and British trees. Review by Cleo Roberts
Kunsthalle Wien Karlsplatz, Treitlstraße 2, 1040 Vienna, Austria
Before entering Camille Henrot’s solo exhibition ‘If Wishes Were Horses,’ the viewer is required to remove their shoes. While this serves the practical function of not damaging the floor, it is also an intimate gesture with associations of religious worship, the comfort of being at home, privacy, or even sensuality. Review by Deborah Krieger
Serpentine Sackler Gallery, West Carriage Drive, London W2 2AR
Unashamedly political, intellectually rich, in this exhibition is a capacious definition of contemporary conceptual art. Betsy Porritt reviews
Chisenhale Gallery, 64 Chisenhale Rd, London E3 5QZx
From the very first images you are transported into rural Lebanon. The silence of the valley is broken by an incoming car, driving past a junction littered with disused motor vehicles. These modern ruins are instantly followed by ancient villas and temples that have sat for centuries in the countryside, now surrounded by roads, pylons and infrastructure. Review by Bobby Jewell
Kunstraum, 21 Roscoe Street, London EC1Y 8PT
‘Producing My Credentials’ is a series of performances and an exhibition that invites the audience to enter an audacious and curious version of Sophie Jung’s memory theatre. Review by Christian Lübbert
