The Fruitmarket Gallery, 45 Market St, Edinburgh EH1 1DF
Leirner’s works frequently organise and repurpose slight ephemera into a surprising coalescence. Whilst the career-wide spectrum of activity on display successfully demonstrates the consistent concerns within her oeuvre, the volume of works within this cross-section seems at odds with their essential simplicity, which at times is perhaps diluted in the two satiated galleries. Review by Nathan Anthony
The Koppel Project Hive, 26 Holborn Viaduct, London EC1A 2AT
‘The Hive Mind’ is a group exhibition consisting of sculpture, painting, video and print work by new and established artists, that probes the question of connectivity in an increasingly dysfunctional and meaningless reality. Review by Evie Ward
Thomas Dane Gallery 3 Duke Street St James's London SW1Y 6BN
‘Naming Rights’ is a unique exhibition that discloses the arcane mechanisms of an artist run project space, converting the gallery into a place for artistic research and experimentation. The result is a distinctive presentation of works by international artists. Review by Fiorella Lanni
Yorkshire Sculpture Park, West Bretton, Wakefield WF4 4JX
Asked to curate a show from the collection by Yorkshire Sculpture Park as part of the National Partner scheme, Rana Begum has selected works for display that she says ‘have a soul’, an audaciously subjective criteria with which to curate an exhibition. Review by Jessie Bond
Whitechapel Gallery, 77-82 Whitechapel High St, London E1 7QX
__large.jpg)
‘The Trickle-Down Syndrome’ is a large-scale installation, which consists of five interconnected yet individual rooms, inspired both by 1930s backdrops of Hollywood director Busby Berkeley and the Surrealist works of Max Ernst. Review by Fiorella Lanni
Kavi Gupta, 835 W. Washington Blvd., Chicago, IL 60607
In his upcoming exhibition, Sign, at Kavi Gupta, Chicago, Glenn Kaino directly challenges the signifiers of colonial action: objects which encode the terms of traversal, demarcate ownership, and crystallize territory into the social contract. Maps, flags, signs, and peace agreements all have one thing in common, they are symbolic markers of man’s assertion of his ownership of his world.
Lily Brooke, 3 Ada Road, London, SE5 7RW
Drawing on a broad framework of cinematic references, for her upcoming exhibition at Lily Brooke, Eva Gold presents an installation comprising several individual sculptures. Situated within a broader exploration of filmic spaces, Gold here extends her analysis of the cinematic landscape as memory site.
Chewday's, 139 Lambeth Walk, London, SE11 3EE
![Bryan Dooley, NP, 2016 [detail]](https://tit-assets.s3.amazonaws.com/articles/3300/public_death_11__large.jpg)
Public Death is the theatrical result of Bryan Dooley's research into dormant patents, currently owned by Google, designed to move data farms out to sea. Dooley’s installation plays on themes of circulation, cultural signification, technological progress, and inevitable disaster.
Kunstverein Harburger Bahnhof, im Bahnhof über Gleis 3 & 4, Hannoversche Straße 85, 21079 Hamburg
Christopher Kulendran Thomas’ family is from a place that no longer exists. For three decades during the Sri Lankan civil war, “Eelam” was self-governed as an autonomous state led by a neo-Marxist revolution.
Baltic Centre for Contemporary Art, Gateshead Quays, S Shore Rd, Gateshead NE8 3BA
Luke Naessens interviews Brian Griffiths about his exhibition 'BILL MURRAY: a story of distance, size, and sincerity' at BALTIC Centre for Contemporary Art.
Valentin, 9 rue Saint-Gilles, 75003, Paris
George Henry Longly’s new exhibition at Valentin, 'The Smile of a Snake', takes its name from a language tutorial emphasising the pronunciation of the letter “s”. A phonetic exercise forlearning English as a foreign language it also highlights problems with the physical materialisation of language.
MoMA, 11 W 53rd St, New York, NY 10019
Widely noted, the role of fiction in Walid Raad’s practice takes a lead throughout his mid-career retrospective at MoMA. Review by Gemma Sharpe
Soy Capitán, Prinzessinnenstrasse 29, DE-10969 Berlin
Through the gesture of invitation and a particularly dialogical approach, Jesse Wine's latest exhibition investigates the role of the individual audience member.
Marian Goodman Gallery, 24 West 57th Street, New York, NY 10019
At a time when populations, cultures and the environment are fighting to resist conservative thinking and political assault, Sunset Décor puts into perspective the instrumentalization, now as then, of nature, the individual and the land for the production of a symbolic order in the name of freedom, civilization and democracy.
