Serpentine Gallery, Kensington Gardens, London W2 3XA
Neither chronological nor particularly thematic, the show’s organisation drives home one of the main characteristics of Latham’s work: to a greater or lesser extent all of it reflects his peculiar and esoteric theories of universal time, and his theory of art as event. Review by Anya Smirnova
Luxembourg & Dayan, 2 Savile Row, Mayfair, London W1S 3PA
While on one count, the show’s conception of collage is flawed, it presents a complete and compelling account of its connection to other mediums. Review by Henry Broome
CANAL, 60 De Beauvoir Crescent, London N1 5SB
Scheuring spoke in her performance about the desire to express suffering caused by a sense of alienation. At the same time she tried to draw attention to the impossibility of conveying the overbearing experience to others by means of established cultural codes. Review by Dr Dominik Kuryłek
Drawing Room, Unit 8 Rich Estate, 46 Willow Walk London SE1 5SF
Drawing Biennial 2017 offers insights into how artists contend with a world in rapid and disorienting flux. A snapshot of contemporary drawing practices, the exhibition includes more than 200 new and recent works on paper by leading international artists of different generations.
ACUD Gallery, Veteranenstraße 21, 10119 Berlin Mitte, Berlin
For her first solo exhibition in Germany at ACUD Gallery in Berlin, Monira Al Qadiri presents a simple combination of sculptures and video works created in the past five years. Review by Anaïs Castro
Espoo Museum of Modern Art, Ahertajantie 5, 02100 Espoo, Finland
Strolling through Olafur Eliasson’s remarkable Pentagonal Landscapes exhibition re-awakens the mind to the dynamic complexity of spatial experiences. To accomplish this, Eliasson not only brings together a host of authentic and reflected vistas, but also convincingly manifests their fragmentary, confounding and, ultimately, ephemeral nature. Review by John Gayer
Copenhagen Contemporary, Trangravsvej 10–12, 1436 Copenhagen K
Four full-size aeroplanes occupy the corners of the vast gallery, each based on a 20th century warplane from Kiefer’s private collection. They are impotent, made from malleable lead and brittle zinc and leaning on rusted props and boulders. Giant poppies burst from a cockpit and ripped-open wings are adorned with sunflowers or weighed down with Kiefer’s signature lead books. Review by Jessie Bond
Guggenheim Museum Bilbao, Abandoibarra Etorb., 2, 48009 Bilbo, Bizkaia, Spain
The rationale behind this blockbuster-style show is that the movement was a multifaceted group phenomenon, involving artists from all mediums and practices, and spanning the East to West Coast of America. Prominent names such as Jackson Pollock, Mark Rothko or Willem de Kooning are not typically associated with group shows; rather represented in large-scale solo retrospectives dedicated to exploring their individual oeuvres. The exhibition is a major feat; most of these works haven’t been seen in tandem since 1959. Review by Philomena Epps
Hauser & Wirth, 23 Savile Row, London W1S 2ET
With relentless honesty, wit and self-irony, the Austrian painter Maria Lassnig explores her corporeality and shocks by simply making tangible the most fundamental common experience of us all – inhabiting a human body. Review by Katharina Günther
M WOODS, D-06, 798 Art Zone, No. 2 Jiuxianqiao Road, Chaoyang District, Beijing 100015
An Ode, the first ever museum exhibition of Cristof Yvoré's work in Asia, presents paintings from many stages of the French painter’s career. Yvoré undertakes a restless exploration of the physicality of paint, imbuing his subjects with all the subjectivity and uncertainty of remembered things.
OUTPOST, 10b Wensum Street, Norwich, NR3 1HR
Lodged in the entrance of a former Skittle Salon in Norwich, the home of Outpost gallery, are the hips of a nude female. Review by Cleo Roberts
Whitney Museum of American Art, 99 Gansevoort Street, New York, NY 10014
The 78th instalment of the Whitney Biennial for 2017 - which always aims for the zeitgeist and the seminal - opens at a time of crisis not only in the United States, but around the world. Review by Arthur Ivan Bravo
Tenderpixel, 8 Cecil Court, London WC2N 4HE
David Ferrando Giraut’s recent works weave a neon path through progressive economic theories and 17,000 years of image-making, arriving at the present day clad in Louboutin and dripping in gold. Review by Jack Smurthwaite
Barbican Centre, Silk St, London EC2Y 8DS
In ‘Incoming’, the other is played by the European state apparatus. In their helmets, suits and protective gear, those that meet and interact with the refugees are rendered alien in the thermographic camera’s aesthetic. Mosse’s camera is able to present the true inhumanity of the crisis by inverting the roles of the migrant and those enforcing the violent borders. Review by David Lee Astley
