PHI Foundation for Contemporary Art, 451 & 465 Saint-Jean Street Montréal (Quebec) H2Y 2R5, Canada

RELATIONS: Diaspora and Painting

In addressing the diaspora, it is a mistake to think national and cultural identity can be rendered in any fixed format marked by an artist’s displacement from one place to another, as if the experience of a second generation immigrant who only knows of their native culture could be compared to someone who is forcefully removed from their place of origin. Review by Elaine Y.J Zheng

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Kiasma, Mannerheiminaukio 2, 00100 Helsinki, Finland

Liisa Lounila: Shadow Zone

There’s a stillness in Liisa Lounila’s moving image works that inspires an urge to slow-down, to sit-down and to stay put, for a while. ‘Shadow Zone’, a collection of Lounila’s works from 2008 to 2020, challenges the viewer to observe the slight nuances in a seemingly repetitive world. Though spanning over a decade, the pieces selected remain relevant today; reflecting on broad themes such as the environment and consumerism, while providing a space in which to reinvigorate our relationship with the screen and digital media. Review by Selina Oakes

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Interview with Cooking Sections

Cooking Sections is a collaboration between London-based Daniel Fernández Pascual and Alon Schwabe, who started working together in 2012 while studying at the Centre for Research Architecture at Goldsmiths, University of London. The duo describe themselves as ‘spatial practitioners,’ and use a combination of art, architecture and landscape design to comment on the systems that organise the world. Interview by Kirsty White

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Schinkel Pavillon, Oberwallstraße 1, 10117 Berlin, Germany

John Miller: An Elixir of Immortality

The first retrospective of John Miller’s work in Germany, ‘An Elixir of Immortality’ provides a comprehensive overview spanning from the 1980s to the present. Exhibited at Schinkel Pavillon is a divergent and at times incongruous body of work, including sculpture, video and painting. Miller refuses to be pigeonholed or swiftly pinned down, punctuating his work with a beat of wry humour along the way. Review by Eva Szwarc

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Cole Projects, London and online

Ritual For A New Regime

During the silence of lockdown, questions about how the pandemic would affect the development of cities began to circle frantically. While established models threatened to crumble, in the property world, planning restrictions were relaxed to encourage building and accelerate development. In an ex-military site in north London, curator Camilla Cole has made use of this transitional period for a new project that reflects upon the current, peculiar moment in history. Review by Gabriella Sonabend

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Odeon of Herodes Atticus, Dionysiou Areopagitou, Athina 105 55, Greece

Dionisis Kavallieratos: Disoriented Dance / Misled Planet

Oh, it feels good to be back looking at art. Standing in the open air of this historic site, Dionisis Kavallieratos’s ‘Disoriented Dance / Misled Planet’ feels like exactly the right show to be seeing at this moment. It’s playful, gentle on the mind and easy on the eye, contemporary, but riffing on ancient themes, challenging, but not too much so. Review by William Summerfield

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Lundahl & Seitl, online

Symphony of a Missing Room

The app 'Symphony of a Missing Room' attempts to frame the museum as a site of collective imagination, a palimpsest that stores the voices of its visitors past and present. Based on a guided tour artists Lundahl & Seitl have been staging in galleries for the past 10 years, it allows you to participate in an immersive artwork at home with a friend. Review by Kirsty White

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Kunsthalle Lissabon, R. José Sobral Cid 9E, 1900-312 Lisboa, Portugal

Laure Prouvost: Melting into one another ho hot chaud it heating dip

To go in is to deep-dive, to move down, to curve the body and bow the head; you have been made permeable by a dark, whispering underworld that slackens and contracts around you. That I am experiencing Laure Prouvost’s immersive ‘Melting into one another ho hot chaud it heating dip’ at Kunsthalle Lissabon from behind my laptop screen is an irony not lost. Review by Inês Geraldes Cardoso

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Castor Projects, Enclave 1, 50 Resolution Way, London SE8 4AL

Rafal Zajko: Resuscitation

Breathing and the nature of our bodies as something that air passes through have never been considered so urgently as in this show. Rafal Zajko, a London-based, Polish artist, has been making wall-based works that look like vents for a year - a fact I discovered during a remote conversation with Zajko to discuss his exhibition, Resuscitation, at Castor Projects in London, which was open for just one day before its closure due to the COVID-19 pandemic. Review by Laura O’Leary

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Lamar Dodd School of Art, University of Georgia, 270 River Road Athens, GA 30602

Multiple Entry Points to Dis-ease: A Conversation with Amiko Li

Amiko Li’s 'The Purpose of Disease,' curated by Katie Geha, opened at The Dodd Galleries at the Lamar Dodd School of Art, University of Georgia, on February 27th, 2020, but was closed prematurely by the outbreak of Covid-19 in the U.S. Nevertheless, the show’s relevance continues to proliferate. Li began the research for this work in 2017 upon discovery of a mysterious rash spreading across his body. As he investigated remedies for the condition, other threads of research, ranging from tetrachromacy in birds and the relationship between photographs and text, gradually converged experiences of mind and body. The following conversation with Li considers the multiple entry points to embodied and cultural dis-ease. Written by Laurel V. McLaughlin

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Billytown, Helena van Doeverenplantsoen 3, 2512 ZB The Hague, Netherlands

Ide André: Just a Satisfying Spiral

There is something very compelling about Ide André’s ‘Just a Satisfying Spiral’ that impresses itself on the viewer right upon entry. The airy exhibition hall not only bolsters the lively and idiosyncratic nature of the works by giving them ample space to breathe, but it also suites the dynamism that pervades the show’s constituents. Viewers quickly notice that they are in a transitional zone. Review by John Gayer

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Museum of Art of São Paulo Assis Chateaubriand, Avenida Paulista, 1578 / Casa de Vidro Lina Bo Bardi, Rua General Almério de Moura, 200, São Paulo, Brazil

Leonor Antunes: joints, voids and gaps

I didn’t immediately see Leonor Antunes’s works at Lina Bo Bardi’s ‘Casa de Vidro’ (Glass House), which is to say, I saw them without apprehending them to be out of place. The tortuous steel, twisting in controlled but vital serpentines against the dense green vegetation that rushes in through the porous windows, could have merely been part of the eclectic collection of objects dotted around Bo Bardi’s living room. Ultimately, their undulating verticality - an enduring trademark of Antunes’s sculptural practice - gave them away. Review by Inês Geraldes Cardoso

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The Modern Institute, 14-20 Osborne St, Glasgow G1 5QN

Marco Giordano: To Disturb Somnolent Birds

At the threshold of consciousness and sleep, nineteen resin sculptures lit by LED rest on a wooden bench, marking the entry into Marco Giordano’s reverie. Eerie whispers fill the gallery, transporting visitors to continents far away, into a dream-like state. Time is suspended by an ethereal soundtrack; a lullaby calling to “sing or sink” reverberates across the gallery space. Review by Elaine Y.J Zheng

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Upfor Gallery, 929 NW Flanders St, Portland, OR 97209, United States

Danielle Roney: Frequencies of Opacity

Blinking LED lights on the half-moon steel curves of ‘Strata Series: Zero’ and ‘Strata Series: Zero_One’ (both 2020) ascend and descend, irradiating the forms suspended from the ceiling and resting precariously on the floor. They illuminate the voices of migrants. Danielle Roney’s exhibition at Upfor Gallery, ‘Frequencies of Opacity’, imagines how migrants, violently labelled as illegal, could clandestinely occupy institutions and perhaps create renewed borderlands through technology. Review by Laurel V. McLaughlin

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