Rothschild's sculptures tantalise us with scripted hints while continually resisting meaning. Clues across titles make it tempting to consider the passion, rejection and sensuality of human relationships as much as how sculptures might relate to one another and to us. Review by Jillian Knipe
Amid the celebrations of Canada’s 150th birthday last year, there prevailed an anxiety surrounding its colonial origins, and the efforts to reconcile past and continuing mistreatment of its indigenous groups with its modern national identity. It’s within this context that French artist Kader Attia stages his first major exhibition in the country, Fields of Emotion at the Power Plant, Toronto. Presenting a series of works dealing with political and individual traumas, Attia traces a thread of genealogies and histories which offset sanitized narratives and explores the lingering impact of atrocities left unaddressed or disavowed. Review by Alec Kerr
Internet Giants: Masters of the Universe at Birmingham's Ikon Gallery is a timely mediation on how dominant technology behemoths, like Facebook, have completely reshaped our cultural and social landscape. Teasing out these complexities through new sculptural and digital works, artists Langlands & Bell question if the opulent mega campuses of Apple and Google will define our age. Review by Jack Welsh
The video works layer lurid cartoons, psychedelic narratives and deadpan rap music; they are accompanied by production drawings and a sculpture. Edmée Lepercq reviews Hardeep Pandhal's solo exhibition at Cubitt.
The city is striated into manifold ordered grids that similarly control our movements. The Nevada desert on the other hand, one of the locations Lilah Fowler explored for her show at Assembly Point, has no such boundaries and borders – it has an order more in common with a modulating weather system than any Cartesian geometry. Review by Matthew Turner
Upon entering the upper gallery of Modern Art Oxford, there is something slightly reminiscent of an art foundation course exhibition in 'The Family in Disorder: Truth or Dare' (2018), an installation of 'exploded' materials, as if students had been asked to explore those materials, languages, and meanings, resulting in a rather haphazard assemblage. Review by Paul Black
Hazel Brill’s new video installation ‘Woke Up in Spring’ presents a compendium of media and cultural references that build up a layered picaresque of the artist’s exploration of her environment. Review by Piers Masterson