At Peles Empire, Berlin, Shannon Bool’s works address the power of visual representation and manages to challenge authority by means of re-appropriation and exposure to forms once more unfamiliar. Review by Joan Lee
There are no images or videos to look at – only the nakedness of the sounds flooding the floor. Vibrations seemingly emerge from nowhere, as suspended spirits floating then dissipating in the air like icy breath. Review by Giulia Ponzano
The second solo exhibition by Sarah Morris at Capitain Petzel, Berlin, Cloak and Dagger, sees a new and recent films and paintings examine the fictional, internal and external architectural landscape inhabited by Fritz Lang who directed the film noir classic, Cloak and Dagger, from which the exhibition gets its title.
The Swiss artist Pamela Rosenkranz is interested in the invisible phenomena that affect the material world. Behind a sensual aesthetic, her work is subtly subversive. Rosenkranz often draws from consumer research, notably the effect of toxoplasmosis, a parasite said to infect 30% of the world population and researched for influencing a series of human behaviours, including fear, spending habits, physical attraction and most relevant to the concept of her inaugural solo exhibition at Sprüth Magers Berlin, human fondness for cats. Review by Anaïs Castro
Novelist and filmmaker Christopher Petit presents ‘In What’s Missing, Is Where Love Has Gone’. Using a pixelated image of the late David Bowie as a stimulus, the four works presented are an examination of a quiet voyeurism that speaks to internal, often inexpressible observations surrounding popular, repetitive images. Review by Candice Nembhard
The exhibition 'alien matter' aims to examine new relationships between man and machine through the work of thirty artists brought together around four thematic focal points: artificial intelligence, plastics, infrastructure and the internet of things. Review by Anaïs Castro.
Borna Sammak’s unique approach to mining contemporary culture – translated into video, sculpture and painting – often amounts to an overwhelming, nearly illegible accumulation of the stuff that surrounds us. If contemporary life feels cluttered, Sammak asks just how much overstimulation we are willing to slog through to find meaning that makes sense to us.
The ingenuity of Banner’s work is that extreme violence and banal – even crude – humour are invoked within a single moment, creating an ambiguous and often uncomfortable tension. Review by Siobhan Leddy
In light of European defence against immigrants, Halil Altındere proposes - at some ironic distance - to use the cosmic space as a haven for refugees. This vision of a life in space for the refugees is illustrated with specially designed spacesuits from a fictitious “Palmyra”-space mission, a planetary rover and a virtual reality video.
This two-part show is sufficiently complex and self aware to acknowledge its complicity without being curtailed by it. The exhibition takes its name from Hito Steyerl’s performative lecture ‘Is the Museum a Battleground’, delivered at the 2009 Istanbul Biennial, in which Steyerl seeks to makes visible the ties which connect the art world to violent conflict via global capital. Review by Laura Purseglove
'Inflected Objects' proposes an understanding of art objects as transient things, assemblages of materials whose destinies remain unknown, and as propositions for assimilation and disintegration. At a time in which the extraction of value from every available asset seems the dominant imperative, the artworks here display forms of waste, non-use and degradation.