Chris Sharratt

In the artists’ film strand, Margaret Salmon, Basma Alsharif and Martine Syms showed a strong emphasis on people, place and storytelling

The Barbadian filmmaker, recipient of this year’s Margaret Tait Award, is intent on disrupting institutional complacency

Luke Fowler, Country Grammar (with Sue Tompkins), 2017, film still, 16mm film transferred to digital, 18 mins 29 secs. Courtesy: the artist and The Modern Institute/ Toby Webster Ltd, Glasgow, UK; photograph: Patrick Jameson

The Modern Institute, Glasgow, UK

Jonathan Baldock and Emma Hart, 'LOVE LIFE ACT III', installation view, De La Warr Pavilion, 2017. Photograph: Rob Harris

De La Warr Pavilion, Bexhill-on-Sea, UK

Sara Barker, Double son of rubble, 2017, automotive paint, folded aluminium, stainless steel & brass rod, perspex, 2.0m x 2.9m x 57cm. Courtesy: the artist and Mary Mary Glasgow; photograph: Max Slaven

Mary Mary, Glasgow, UK

Various venues, Manchester, UK

Tramway, Glasgow, UK

Glasgow Sculpture Studios, UK

Analysis and reaction to the surprise closing of Inverleith House after 30 years

Holmwood House, Glasgow, UK

Toby Paterson, Seminary in a woodland setting, 2003, acrylic paint on wall, dimensions variable. Courtesy: the artist and The Modern Institute/Toby Webster Ltd, Glasgow 

Will brutalism’s greatest legacy be its influence on artists?

Ulla von Brandenburg’s recent performance is inspired by a post-French Revolution proto-feminist group