Ori Gersht, Falling Bird, 2008 from Noga Gallery of Contemporary Art on Vimeo.

Ori Gersht, Big Bang, 2006 from Noga Gallery of Contemporary Art on Vimeo.

Ori Gersht, Pomegranate, 2006 from Noga Gallery of Contemporary Art on Vimeo.

The Modern Institute, 14—20 Osborne Street, Glasgow G1 5QN,  2 Jan 2013

Sosnowska creates minimal architectonic structures that respond to the social, political, and psychological use of space. Her works are influenced by the Socialist construction dominant within former Communist Eastern European states, and inherent to the environment the artist herself grew up in. The stark building style, shaped by politically charged systems, has now become an expression of stagnation, a factor, which Sosnowska rekindles within her work.

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International Project Space, School of Art Bournville, Birmingham Institute of Art and Design, Maple Road, Birmingham B30 2AA,  20 Dec 2012

The artist Andrea Büttner considers shame to be a useful emotion, as it can drive an individual to greater productivity and reflection...

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Tate Modern, Bankside, London SE1 9TG,  19 Dec 2012

This exhibition will take a new look at the dynamic relationship between performance and painting since 1950. Contrasting key paintings by Jackson Pollock and David Hockney, the exhibition considers two different approaches to the idea of the canvas as an arena in which to act: one gestural, the other theatrical. Review by Simon Bayliss.

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ROWING, Unit F, 449 Holloway Road, London N7 6LJ,  18 Dec 2012

Frank! is an exhibition of newly produced works by Francesco Pedraglio and in the second part of the show beginning Friday 11 January, a collaboration with eight other artists (Nina Beier, Paul Becker, Alex Cecchetti, David Raymond Conroy, Chosil Kil, Marie Lund, Simon Dybbroe Møller and Robert Frank) directly or indirectly invited by Pedraglio in relation to some of the ideas underpinning the exhibition. Review by Tom Snow.

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Schirn Kunsthalle Frankfurt, Römerberg, 60311 Frankfurt, Germany,  17 Dec 2012

From November 1, 2012 to February 3, 2013 the Schirn will be presenting numerous contemporary artworks with a view to exploring the topic of the disappearing private sphere and the “public nature of the intimate”.

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Workplace Gallery, The Old Post Office, 19/21 West Street, Gateshead, Tyne & Wear, NE8 1AD,  16 Dec 2012

Marcus Coates’ latest solo show (his second at Workplace Gallery) continues the artist’s eccentric preoccupation with the natural world, how we relate to it, idealise it, sanctify it and attempt to categorise it.

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Kadiview with Pratchaya Phinthong from Kadist Paris on Vimeo.

Arcade, 87 Lever Street, London, EC1V 3RA,  14 Dec 2012

'Other People's Trades' is conceived as a conversation in sculpture between Esmeralda Valencia Lindström and Adriaan Verwée, 'a lens through which to bring the works into focus and to uncover their oblique truths'. Review by Chloe Hodge.

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Cell Project Space & Studio Headquarters, 258 Cambridge Heath Road, London E2 9DA,  13 Dec 2012

Chimera Q.T.E. mixes personal visions, popular culture and digital aesthetics to reflect on new forms of abstraction and intangibility that emerge in the fragmented context of the internet and digital spaces.

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Espai Cultural Caja Madrid, Plaça de Catalunya, 9, 08002 Barcelona, Spain,  12 Dec 2012

The Espai Cultural Caja Madrid is pleased to present the exhibition Desire Lines, curated by Lorena Muñoz-Alonso and Bárbara Rodríguez Muñoz, which proposes to rediscover the dormant narratives in our cities and to dissolve the limitations of our daily participation by integrating poetics, playfulness, irrationality, oneirism and disruption in our experience of urban spaces.

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Carroll / Fletcher, 56 - 57 Eastcastle Street, London W1W 8EQ,  11 Dec 2012

one and zero, Manfred Mohr's first solo exhibition in London, presents a concise survey of his fifty-year practice. Harnessing the automatic processes of the computer, Mohr's work brings together his deep interest in music and mathematics to create works that are rigorously minimal but with an elegant lyricism that belie their formal underpinnings. Review by Catherine Spencer.

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