How humour feeds painting

Movie stars, late capitalism and fragmented attention spans

Is too much information ever enough?

The films of Abderrahmane Sissako

How to survive exile

Conversations, buildings, books and films

The dark, unsettling feminism of Jacqueline Rose

‘There’s no extracting the concept from the commodity in any of Hoff’s many strands of work’

Frederick Wiseman’s new documentary about London’s National Gallery

Gilda Williams’s new book on how to write about contemporary art

Various venues, Gwangju, South Korea

Hammer Museum, Los Angeles, USA

Temporary Gallery, Cologne, Germany

Dan Gunn, Berlin, Germany

Aargauer Kunsthaus, Aarau, Switzerland

Various venues, Biel/Bienne, Switzerland

Galerie Perrotin, Paris, France

Centre d'art contemporain d'Ivry – le Crédac, Ivry-sur-Seine, France

Signal – Center for Contemporary Art, Malmö, at Kunsthal Charlottenborg, Copenhagen, Denmark

STANDARD (OSLO), Norway

mother's tankstation, Dublin, Ireland

Various venues, Brno, Czech Republic

Kaufmann Repetto, Milan, Italy

LABoral Centro de Arte y Creación Industrial, Gijón, Spain

Kunsthalle Athena, Greece

Gertrude Contemporary, Melbourne, Australia

Hong Kong, China

Various venues, Japan

Proyectos Monclova, Mexico City, Mexico

Museo Tomayo, Mexico City, Mexico

Aspen Art Museum, USA

ltd los angeles, USA

Jenny's, Los Angeles, USA

The Art Institute of Chicago, USA

Metro Pictures, New York, USA

Gladstone Gallery, New York, USA

Cornerhouse, Manchester, UK

Modern Art Oxford, UK

David Zwirner, London, UK

Waterside Contemporary, London, UK

French Riviera, London, UK

Sadie Coles HQ, London, UK

Chisenhale Gallery, London, UK

With mordant humour, the art of Michael E. Smith plots the bleak landscapes of exurban America

‘Civilizations of the jaguar’, vacuum cleaners and the human body

Taking stock of stock images

Caoimhín Mac Giolla Léith examines the relationship between image and painting in the work of Marlene Dumas

Illustration and art history collide in Sanya Kantarovsky’s paintings

Decoding Uri Aran’s mysterious work-tables

The anarchic 1920s Tokyo art movement Mavo and the internationalism of the Japanese Avant-garde

Sukhdev Sandhu on an abandoned cinema in the Sinai Desert

Q. What could you imagine doing if you didn’t do what you do? A. Drifting on a boat.