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Chris Sharratt

With authors, curators and musicians recently denied entry, the UK is fast painting itself as a cultural pariah

In a Victorian-era baths in Glasgow, the artist stages her largest performance project to date, featuring a 24-woman swim team

Cancelled events and financial woes have left neighbours such as CCA and its cultural tenants in a state of limbo

Closing on Sunday, this year’s nine-day festival held across the Kentish seaside town circles around the home as protective space

The artist's tightly choreographed show about surveillance culture at Koppe Astner, Glasgow

From Linder at the Women’s Library to rare paintings by Serge Charchoune, the exhibitions to see outside of the main programme

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