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The British-American artist Henry Hudson is known for his ‘Jungles': a colourful collection of plasticine works that have been exhibited around the world. And while he has an upcoming exhibition in India showcasing exactly that, he’s also venturing outside of his comfort zone. Recently, he has been exploring other mediums; ceramics, oil and iPad paintings, some of which will be on display at another exhibition in Vienna this fall. I joined Hudson at his East London studio to discuss what he’s been up to during lockdown and the pandemic-inspired works that are currently in progress. Interview by Shelby Wilder

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PHI Foundation for Contemporary Art, 451 & 465 Saint-Jean Street Montréal (Quebec) H2Y 2R5, Canada

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In addressing the diaspora, it is a mistake to think national and cultural identity can be rendered in any fixed format marked by an artist’s displacement from one place to another, as if the experience of a second generation immigrant who only knows of their native culture could be compared to someone who is forcefully removed from their place of origin. Review by Elaine Y.J Zheng

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How can we rebuild the world? A global pandemic, wide-spread racial injustices at boiling point and unfair cultural systems that need urgently addressing. How can the arts contribute to rebuilding the world, pulling us out of the times we are living through and give hope for a better future? How can we embrace this moment to improve those unfair cultural systems which pre-existed the pandemic, such as its carbon impact; the financial precariousness of the artist and the inequitable landscape of the art world? 'The Artist as Consultant', our series of digital discussions was born out of these questions. E-WERK Luckenwalde Director and Curator Helen Turner reflects.

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Kiasma, Mannerheiminaukio 2, 00100 Helsinki, Finland

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There’s a stillness in Liisa Lounila’s moving image works that inspires an urge to slow-down, to sit-down and to stay put, for a while. ‘Shadow Zone’, a collection of Lounila’s works from 2008 to 2024, challenges the viewer to observe the slight nuances in a seemingly repetitive world. Though spanning over a decade, the pieces selected remain relevant today; reflecting on broad themes such as the environment and consumerism, while providing a space in which to reinvigorate our relationship with the screen and digital media. Review by Selina Oakes

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Galerie Thaddaeus Ropac, Ely House, 37 Dover Street, London W1S 4NJ

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Cooking Sections is a collaboration between London-based Daniel Fernández Pascual and Alon Schwabe, who started working together in 2012 while studying at the Centre for Research Architecture at Goldsmiths, University of London. The duo describe themselves as ‘spatial practitioners,’ and use a combination of art, architecture and landscape design to comment on the systems that organise the world. Interview by Kirsty White

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Intersticio London, 469 Bethnal Green Road, E2 9QH London

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Intersticio London and its inaugural exhibition, ‘Where Water Rumbles, Metalloids’ allowed curator Cristina Herráiz and artist Esther Gatón to “deform the inherited ways of working and showing”. Speaking with Emma O'Brien, their discussion ranged from an analysis of societal discourse in the context of Covid-19, the notion of an altered normality and the role artists play in rethinking strategies in order to drive forward the changes we need to see in the world at large.

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Nancy Holt and Robert Smithson are two key figures in earth, land, and conceptual art, pioneering some of the most influential site-specific installations and video work in the 20th century. As many galleries and museums are continuing to find new digital means of presenting their programme, the Holt/Smithson Foundation launched a weekly film programme of both artists’ most iconic films alongside lesser known works with each available for just 24 hours. Throughout the series we see each artist in a new light, framed around the early experimental energy of video art as they explore artistic collaboration and themes of presence and absence against the backdrop of their monumental earthworks. Review by Aileen Dowling

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Schinkel Pavillon, Oberwallstraße 1, 10117 Berlin, Germany

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The first retrospective of John Miller’s work in Germany, ‘An Elixir of Immortality’ provides a comprehensive overview spanning from the 1980s to the present. Exhibited at Schinkel Pavillon is a divergent and at times incongruous body of work, including sculpture, video and painting. Miller refuses to be pigeonholed or swiftly pinned down, punctuating his work with a beat of wry humour along the way. Review by Eva Szwarc

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Cole Projects, London and online

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During the silence of lockdown, questions about how the pandemic would affect the development of cities began to circle frantically. While established models threatened to crumble, in the property world, planning restrictions were relaxed to encourage building and accelerate development. In an ex-military site in north London, curator Camilla Cole has made use of this transitional period for a new project that reflects upon the current, peculiar moment in history. Review by Gabriella Sonabend

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Cammie Staros: Becoming Whilst Dissolving

For Los Angeles-based Cammie Staros, Greek antiquities are an anchor and a point of departure from which to deconstruct visual language and forge alternative systems of representation. Staros uses the pot to talk about the way we relate to Western art history, to the context of the modern museum and to the departure from restrictive historical narratives. Text by Gabriella Sonabend

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Pippy Houldsworth Gallery, 6 Heddon Street, London W1B 4BT

Painting with Light: The Photography of Ming Smith

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Black Lives Matter: A Statement of Support

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