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.
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
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
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 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.
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
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
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
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
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.