More than Stories: A Film Trilogy, John Hansard Gallery, Southampton
Artist Anya Lewin’s trilogy of film installations is presented together here for the first time. Inspired by Lewin’s family photographs and stories passed down by her father, each has at its heart the haunted memories of Jewish life. Lewin is a first generation American on her father’s side and second generation on her mother’s; both branches of her family immigrated to the US in flight from persecution in Europe. Fez: The Royal Scent (2019) was made specifically for this exhibition and is presented alongside With Heartfelt Gratitude for the Painless Treatment (2008) and Chez Paulette on the Sunset Strip (2013), respectively set in three different cities that Lewin’s family has lived in: Cairo, Berlin and Los Angeles. Shot on built sets that recreate the locations central to each story – a perfume shop, a dental office and a coffee house – elements of the sets are also shown in the galleries at John Hansard Gallery.
Until 4 May 2019.

Memorial Show, Workplace Gallery, Gateshead
Paul Moss (1975­-2019) was an artist, curator and co-founder of Workplace Gallery and Workplace Foundation. Following his funeral on 28 February, people were invited to the gallery where Workplace co-founder Miles Thurlow and artist Matt Stokes had curated an impromptu exhibition of Moss’ work as a memorial. Focusing around three of his Danger Paintings, which were included in the solo exhibition ‘Push Me, Pull Me’ at Baltic in 2004, this was the first time his work had been shown in the gallery he founded. Workplace has rescheduled its programme to continue ‘Memorial Show’ throughout its current exhibition slot, and has maintained the communal seating area, reading material and condolence book from the memorial event, which Thurlow described as “full to capacity and celebratory in nature”.
Until 27 April 2019.

Somewhere in the crowd there’s you, Eastside Projects, Birmingham
Cardiff-based artist Freya Dooley works with the potential and limitations of the live and recorded voice. For this solo exhibition she presents a multi-channel sound installation which layers collected vocals, earworm hooks, choral fragments and field recordings, to create oscillations between synchronisation and discord. Dooley’s work examines the tensions between notions of the solo and the chorus and considers the ‘group’ to be something simultaneously claustrophobic and comforting, embracing and alienating. The installation at Eastside Projects takes its title from the lyrics of  ‘Super Trouper’ by Abba – a pop group known for their harmonious vocals and not-so-harmonious personal dynamics.
Until 27 April 2019.

Deutsche Börse Photography Foundation Prize 2019, The Photographers’ Gallery, London
This year’s shortlist for the £30,000 prize showcases photographic practices that range from appropriated and collaboratively gathered material to social and environmental investigations based on extensive research processes. Laia Abril presents an uncompromising visual investigation into the history of abortion and the challenges to women’s reproductive rights, exposing the many stigmas and taboos that still persist around abortion and female health. Susan Meiselas’ long-term project Kurdistan/akaKurdistan is a layered and collaborative history of Kurdistan, while Arwed Messmer’s nominated project, RAF – No Evidence / Kein Beweis, reflects the historic trajectory of the far-left Red Army Faction (RAF) also known as the Baader-Meinhof Group. Mark Ruwedel’s exploration of how geological, historical and political events have left their imprints on the North American landscape is shown alongside his hand-made artist’s books. The winner is announced on 16 May 2019.
Until 2 June 2019.

Familiar Machines, Backlit Gallery, Nottingham
A group exhibition of work by female artists, activists and collectives including Guerrilla Girls, Dominique Golden, ORLAN, Global Sistaz and Martha Wilson. Exploring the movement of body and machine through public and online space, the works present mechanisms of power and feminine governance that question patriarchal systems, and reinforce ideas around social disobedience. Many of the featured artists use humour, grotesque imagery, technological manipulation and the body as tools to diffuse discrimination. The exhibition is accompanied by a learning and participation programme which includes a workshop that uses Wikipedia to challenge one of the ways in which women’s voices are silenced – through the preservation of information ­– by offering practical strategies for women to amplify their voices online.
Until 26 May 2019.

1. Anya Lewin, Fez: The Royal Scent, 2019. Courtesy: the artist
2. Paul Moss (1975-2019), installation view. Photo: Workplace Foundation
3. Freya Dooley, Somewhere in the crowd there’s you launch event. Photo: Zunaira Muzaffar
4. Laia Abril, Hippocratic Betrayal, 2018
5. Lewis Ronald courtesy Magali Reus; The Approach, London


More on

Venice Biennale 2019: curator Ralph Rugoff announces artists for International Exhibition

MSPs call for public inquiry into Glasgow School of Art fires


A Q&A with… Lauren Gault, artist taking risks with form and understanding