Nina Beier, Spike Island, Bristol
Titled ‘European Interiors’, this solo exhibition by the Danish artist uncovers multiple layers of meaning in objects that carry particular social histories – from human hair wigs to mechanical rodeo bulls, cigars to soap. By physically challenging these objects in various ways, Beier investigates how their value is constructed and communicated to reveal implicit power structures. A central work in the exhibition is Female Nude (2015). Exhibited on a mound of fertilizer, the nut of an endangered Lodoicea palm tree – native to the Seychelles and the largest plant seed on earth – is anthropomorphised to appear as hips, vagina and buttocks.
Until 23 September 2018. www.spikeisland.org.uk
Rabiya Choudhry, Transmission, Glasgow
The Glasgow artist presents ‘COCO!NUTS!’, her first home-town solo show and Transmission’s annual Scottish Solo Exhibition. Through a range of painting, text-based media, textiles and painted sculpture, the show explores themes of faith, race, identity, and politics. Choudhry vibrantly and comically portrays varied autobiographical factors present in her own life, referencing personal experiences of the south Asian diaspora and cultural displacement.
Until 20 October 2018. www.transmissiongallery.org
Christian Marclay: The Clock, Tate Modern, London
First shown in October 2010 at White Cube’s Mason’s Yard gallery, Christian Marclay’s 24-hour film installation The Clock was an instant hit with crowds and critics alike; the following year it won the Golden Lion Award at the 2011 Venice Biennale. Consisting of thousands of film excerpts of clocks, deftly edited together to flow in real time, it arrives at Tate Modern for the first time. For true clock-watching devotees, there’ll be a series of overnight 24-hour screenings on 6 October, 3 November and 1 December 2018.
Until 20 January 2019. www.tate.org.uk
Stair/Slide/Space, John Hansard Gallery, Southampton
An interactive sound piece by Portsmouth-based artist-curator group Stair/Slide/Space, Invisible Tour is designed as a tour of the gallery that looks through the eyes of past audiences. The audio describes feelings, sensations and experiences of previous artworks shown at John Hansard Gallery and has been developed through interviews with gallery staff and the wider public. Stair/Slide/Space work collectively to foster research and concept-led artistic practice, often conducting experimental visual conversations and supporting critical discussion. MP3 players are available on site and all tours can also be streamed and downloaded from the gallery’s SoundCloud account.
Until 3 November 2018. www.jhg.art
Ways of Learning, Grand Union, Birmingham
Departing from three key works by artists Alex Martinis Roe, Uriel Orlow and feminist action group Mujeres Públicas, ‘Ways of Learning’ draws from feminisms, generational alliances and indigenous knowledge, as well as forms of solidarity and allegiance intersecting with queer culture. The project engages with Grand Union as a site for learning and is programmed by Lucy Lopez, Grand Union’s current curator in residence, along with gallery staff. With a rich programme of events and communal knowlegdge sharing, ‘Ways of Learning’ foregrounds forms of knowledge production that stem from anecdote, informality and collectivity.
Until 1 December 2018. grand-union.org.uk
1. Nina Beier, Left to right: Female Nude, 2015, Lodoicea seed, fertilized dirt; Curly Maroon Fade Pixie, 2016; Layered Side-Swept Ombre, 2015; Rich Copper Charleston, 2015; Choppy Layers Blunt Bang, 2016; Ebony Volume Frizz, 2015, human hair wigs, painted frames. Courtesy: artist and Spike Island, Bristol; photo: Stuart Whipps
2. Rabiya Choudhry, COCO!NUTS!!, 2018, acrylic on card, 290 x 380mm. Courtesy: artist
3. Stair/Slide/Space, Invisible Tour, 2018. Courtesy: artists
4. Ways of Learning, curated with Lucy Lopez, featuring work by Alex Martinis Roe, Uriel Orlow and Mujeres Públicas, 2018. Courtesy: Grand Union; photo: Patrick Dandy