Middlesbrough Institute of Modern Art wins the inaugural Jackson Tang Ceramics Award, receiving bold new work by Chiara Camoni
Camoni’s ceramic practice is intimately embedded in her daily life and has a collaborative aspect that sees friends and relatives invited to assist her in making the work.
Samuel Levack and Jennifer Lewandowski – Desert Ruins at French Riviera, London
It is relatively unusual for Levack and Lewandowski to show their own work, so this show is an important opportunity to see the product of the last three turbulent years.
Isaac Julien: Lina Bo Bardi – A Marvellous Entanglement at Victoria Miro, London
The debut of a new film installation by Isaac Julien is an event, and this new nine-screen work showing in the upper floor of the Wharf Road gallery has been six years in the making.
‘Edmund de Waal: Psalm’ at Museo Ebraico and Ateneo Veneto, Venice
de Waal’s project connects human experience across many centuries, cultures and countries and, in its way, is as political as it is poetic.
Peter Doig at Secession, Vienna
Whilst he is an artist in the third decade of his career and the term ‘mastery’ would not be misplaced, the paintings here evince a persisting restlessness about the act of painting itself.
Friday Dispatch – Anna Barriball: Fade at Frith Street Gallery, London
Installation, film and drawing are the core of Barriball’s practice. Her subject is the everyday, the little-noticed, the almost imperceptible.
Rose English at Richard Saltoun Gallery
‘Form, Feminisms, Femininities’ at Richard Saltoun Gallery traces the early years of Rose English’s practice through ceramics, performance documentation and collages.
‘Gladys Nilsson: Unencumbered’ at Hales Gallery, London
Her paintings, drawings and collage generously acknowledge the fundamental absurdities of life while revelling in sensuality.
Jadé Fadojutimi: The Numbing Vibrancy of Characters in Play at PEER, London
Look out people, I think we are going to hear a lot more about Jadé Fadojutimi.
Simon Ling at Towner Art Gallery, Eastbourne
While it might be tempting to understand Ling’s work within an English landscape tradition, his painting is as concerned with revealing the functioning of our ‘perceptual equipment’ as that of Bridget Riley.