Ikon Gallery, 1 Oozells Square, Brindleyplace, Birmingham, B1 2HS
Beer’s practice is diverse – encompassing film, sound, and sculpture – and perhaps more easily related by sensibility than subject matter. His home video, ‘Mum’s Continuous Note’, which welcomes us into the exhibition, serves as our induction. Review by Kit Webb
Kunstmuseum Bonn, Friedrich-Ebert-Allee 2, 53113 Bonn, Germany
‘New Originals’ from Lundahl & Seitl was developed expressly for the Kunstmuseum Bonn and marks a new phase in the way the artists work. For the first time, an audio-performative work by Lundahl & Seidl is taking place as an independent exhibition over a three month stretch of time. Text by Sally Müller
Marian Goodman Gallery, 5-8 Lower John Street, London W1F 9DY
‘Daily’ (2016) features ropes of black thread akin to dusted cobwebs, a recurring thematic throughout the show used to strangle and surrender items of gigantic proportions; scissors, combs, keys and locks. Items charged with domestic associations lie surrendered in mid-air, transfixed and immobile, a metaphor for frustration which is echoed in the exhibition’s accompanying work. Review by Sophie Risner
The Sunday Painter, 1st Floor, 12-16 Blenheim Grove, London SE15 4QL
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The gallery plays host to a number of works, all wrestling with different aspects of the material, and manages to arrange them in a way that provokes dialogue between the works without it being overwhelming. There is a mixture of surprising and expected responses to working with paper. Review by Jesc Bunyard
Furtherfield Gallery, The McKenzie Pavilion, Harringay, London N4 2NQ
‘PLEASE IDENTIFY YOURSELF.’ announces itself with a song and a flag. Yara Said’s ‘Refugee Nation’ flag, designed in lifejacket orange for stateless participants of the 2016 Olympics, floats over the small pavilion in Finsbury Park housing Furtherfield Gallery. Review by David Morris
CCA Glasgow, 350 Sauchiehall St, Glasgow G2 3JD
The Sky is Falling is concerned with city spaces as the site for utopias, dreams and social visions. Meanwhile, it documents the abrasive and contradictory experiences of citizens as the potential that urban utopias offer declines and fails. Review by Alexander Hetherington
Centro de Arte Dos de Mayo, Av. de la Constitucion, 23, 28931 Móstoles, Madrid, Spain
The title of Cabello/Carceller’s survey show ‘Draft for an Untitled Exhibition (Chapter II)’ invites visitors to reject traditional notions of artistic practice and exhibition making. Review by Cristina Ramos González
LADA
For this LADA Screens we are showing A film about Performance Magazine by Hugo Glendinning and Alex Eisenberg. Performance Magazine was an arts and cultural magazine published in London between 1979 and 1992.
Lisson Gallery, 27 Bell Street, London NW1 5BU
The current exhibition at Lisson Gallery presents three short films. The works address desire and its excesses through the comically innocent medium of stop-motion claymation. Review by Edmée Lepercq
Castor, Enclave 8, 50 Resolution Way, London, SE8 4AL
The videos exist in a digital purgatory with nothing around them apart from pixels and hyperbolic colour palettes emulating materials we know. Review by William Davie
Barbican Centre, Silk St, London EC2Y 8DS
This is an exhibition that, alongside showing ground breaking architectural designs and their socio-economical contexts, attempts to dig deeper into the psyche of the Japanese family. Spread across two floors centred around a courtyard with lovingly reconstructed walk-through models of contemporary Japanese rooms, the show allows us to sense what it’s like to live in these finest examples of nanotecture. Review by Dominika Mackiewicz
MACBA, Plaça dels Àngels, 1, 08001, Barcelona, Spain.
MACBA presents Against Photography. An Annotated History of the Arab Image Foundation, a monographic exhibition by Akram Zaatari. For Zaatari, collecting photographs is a way of undoing and rewriting that is no less important than the act of capturing images.
Harris Museum and Art Gallery, Market Street, Preston PR1 2PP
I Remember All, a spectacular new film and performance work by Maeve Rendle, was inspired by Anton Chekhov’s The Seagull. Text by Amy Botfield
The Power Plant, 231 Queens Quay W, Toronto, ON M5J 2G8, Canada
In his solo exhibition at the Power Plant, Jonathas de Andrade astutely mines the racialized socio-economic conditions specific to north-eastern Brazil in order to explore the ways in which archetypes, ideologies and fictions both conceal and construct lived experience. Review by Alex Borkowski
