In the blistering heat of August, I found myself walking down the bank of the Rio Teju to the Museum of Art, Architecture and Technology in Lisbon. The news that week had been filled with images of environmental destruction...
Image Blockade is a film depicting a scientific experiment concerning the brain activity of Israeli veterans from an elite army intelligence unit called “8200”. The film is made by Exterritory - artists Ruti Sela and Maayan Amir.
The most poignant works in the exhibition are the drawings in which Harford depicts his mother, frail and clearly coming to the end of her life, she’s shown sleeping under thick covers, already starting to slip away. In one drawing, a thick safety rail cuts in front of the composition, signaling that her separation has already begun. Review by Kaitlyn Kane
Massless, teamLab’s first exhibition in the Nordic countries of Europe, celebrates the transformation of Helsinki’s Amos Anderson Art Museum into Amos Rex by filling the majority of the institution’s newly minted subterranean home with a series of immersive, multimedia installations. Review by John Gayer
The V&A Dundee is Scotland's impressive new design museum, illuminated by refracting light from the Firth of Tay, it is situated at the centre of what was once Dundee's maritime infrastructure and recently opened to the world's press as they were given the opportunity to explore the city's new £80m centrepiece. Review by Paul Black
“Disappear Here is not a history of perspective”, immediately declares the introductory wall text. Instead, RIBA’s exhibition offers a selection of curiously, sometimes bewilderingly, diverse, subversive readings of the system of spatial representation. Review by Henry Broome
In his current show WHAT IS IT, THIS TIME? at Lily Brooke gallery, Charlie Godet Thomas transforms the immateriality of flat text into three-dimensional sculptural objects, capturing the moment words carve an emotional space in the mind of a reader and the outside world. Review by Matthew Turner
Placing the ‘Expressions’ exhibition in direct dialogue with the ‘Feminist Library on Loan’ at The Showroom shows that local histories of women and non-binary people are important. Together, the two projects manifest a visible platform exposing the experiences of those living in the Church Street Ward in the context of feminist chronicles. Review by Ashley Janke
Spellbound is an exploration of meaning; instead of being disturbing for the reasons one might expect - it is in fact rather sad - it conjures a world where individuals struggle to guard against misfortune - to use the only defence they have against loss - that of magical thinking; and it becomes evident that we still possess that thought process today: in the form of the lovers’ padlocks cut from Leeds Centenary Bridge - a contemporary act of ritualistic magic, still existing in a western secular society. Review by Paul Black
The religious aspects of the exhibition are divided. Some works stand as testament to Jackson’s enigmatic international appeal. One room contains footage from the 1992 Dangerous world tour, revealing delirious crowds, a mass euphoria even outstripping Beatlemania: while the Fab Four played to 55,000 people at Shea Stadium in 1965, Jackson’s concert in Bucharest is estimated to have been attended by nearly 100,000. And the numbers don’t stop there: more than 1,000,000 fans are said to have congregated outside Jackson’s memorial service at the Staples Centre in Los Angeles, while the televised spectacle itself is said to have been watched by more than 1,000,000,000 people worldwide. “We’re more popular than Jesus,” said Lennon of the Beatles in 1966. One wonders where this places Jackson. Review by Rowland Bagnall
For an artist whose work often deals with fantasy and simulation, Las Vegas is an ideal subject for Brill, its evolution as a setting for desire, is a perfect mirror for her distinctive, cinematic and kaleidoscopic installations. Review by Piers Masterson