Hardeep Pandhal, Paranoid Picnic: The Phantom BAME, New Art Exchange and Primary, Nottingham
This solo exhibition by Glasgow-based artist Hardeep Pandhal mixes post-colonial traumas with humour. Taking place across two sites in Nottingham at the New Art Exchange and Primary, it features a range of work in various mediums. Highlights include a new video installation that explores themes of heritage, acts of remembering and nostalgia, using samples of scenes from the BBC mini-series Cranford. Elsewhere, across both sites are Pandhal’s drawings, which include works on paper and illustrations drawn freely on the gallery walls. Read Hardeep Pandhal’s ‘2018 – How was it for you?’
Until 17 March 2019. www.nae.org.uk

Nigel Cooke: Painter’s Beach Club, Jerwood Gallery, Hastings
Manchester-born artist Nigel Cooke is known for making monumental paintings that reference art history, consumer culture and the natural world. This show of previously unseen and new work features a raft of dystopian landscapes, peopled by various oddball characters. At times it seems like there are paintings inside paintings, with Cooke tipping his hat to his various artistic heroes, including Francis Bacon, Velazquez and Goya.
Until 24 March 2019. www.jerwoodgallery.org

Helen Sear: Prospect Refuge Hazard, Impressions Gallery, Bradford
Helen Sear’s latest exhibition features video, photography and sound that explores the co-existence of human, animal, and natural worlds. It includes Wahaha Biota, a new video commissioned by Forestry Commission England and Crescent Arts, and Paintball Pictures, which is being exhibited for the first time. Also on show is Company of Trees, which premiered at the 2015 Venice Biennale as part of ‘Wales in Venice’.
Until 16 March 2019. www.impressions-gallery.com

Oona Grimes, Hail the new Etruscan #2, Matt’s Gallery, London
This show of video work represents a new direction for London-based artist Oona Grimes, whose practice has previously focused on drawings and clay. The exhibition features six films, shown on iPads, that were created during eight months spent on a fellowship at The British School at Rome last year. As she took early morning walks, Grimes began to make video recordings which she describes as “drawing the moment”. The black and white films mix ‘iPhone rushes’ with snippets of 16mm footage that reference Vittorio De Sica’s Bicycle Thieves and one particular scene in a restaurant that is too expensive for the character Antonio and his son, Bruno.
Until 27 January 2019. www.mattsgallery.org

Beatrice Gibson: Crone Music, Camden Arts Centre, London
Camden Arts Centre’s latest exhibition features two new films by Beatrice Gibson that explore art, feminism, expanded cinema, and experimental literature. I Hope I’m Loud When I’m Dead was filmed in part with two US poets, CAConrad and Eileen Myles, on the eve of the 45th presidential inauguration in January 2017. The second film, Deux Soeurs Qui Ne Sont Pas Soeurs (Two Sisters who aren’t Sisters), is based on Gertrude Stein’s eponymously-named screenplay, which was written in 1929 as European fascism was building momentum. Also part of the show is an events programme featuring the artists, poets, musicians and wider community with whom the films have been made.
Until 31 March 2019. www.camdenartscentre.org

1. Hardeep Pandhal, Untitled, 2017. Copyright: Janina Sabaliauskaite
2. Nigel Cooke, Painter’s Beach Club, 2018, oil on linen backed with sailcloth, 230 cm x 210 cm. © Nigel Cooke. Courtesy Pace Gallery
3. Helen Sear, Paintball Pictures, 2018. Courtesy: Impressions Gallery
4. Oona Grimes, mozzarella in carrozza, still, 2018. Courtesy: the artist, Matt’s Gallery, London, and Danielle Arnaud
5. Beatrice Gibson, I Hope I’m Loud When I’m Dead, Film Still, 2018. Copyright: Beatrice Gibson; Courtesy: the artist

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