Foregrounding food production and consumption, Deirdre O’Mahony’s “The Quickening” opens at Trinity College Dublin’s Douglas Hyde Gallery. In its eponymous film (2024, image), the Irish artist documents years of consultation with farmers and policymakers, conveying the “reality of farming and the centrality of soil to human, animal, and insect life.” Kicking off a tour, O’Mahony will subsequently screen the film in Carlow, Waterford, Kilkenny and other towns across Southern Ireland.

Drawing on manar (the Arabic word for lighthouse), the inaugural edition of Manar Abu Dhabi opens in the UAE. Featured are light-based works by Middle Eastern artists (Asma Belhamar, Latifa Saeed, and others) and international figures, including Carsten Höller and teamLab. Rafael Lozano-Hemmer contributes “Translation Island,” a site-specific retrospective featuring ten works, including Dune Ringers (2023, image), which transforms nocturnal desert topography into “travelling waves of light and sound.”

Ismael de Anda III and Eugene Ahn’s collaborative exhibition “Revolution Generators” opens at panke.gallery, Berlin, investigating territorialization at the U.S. and Mexican border, where Anda was raised, and the once divided German capital. 25 digital collages, printed on aluminium, capture real and fictional landscapes and are paired with projections and AR sculptural forms. A recurring motif are (hostile) metal turnstiles lifted from U.S. border crossings and cast into the sky as colourful satellites.

“Anoxic Memory,” a show by Maria Simmons, maker of “art that eats itself,” opens at the Visual Arts Centre of Clarington (VAC) in Bowmanville, Ontario (CA). Foregrounding their interest in peatlands, the Canadian artist continues to bring the bog into the white cube, here recreating its three strata—anoxic, oxic, atmospheric—vertically. One on floor Simmons evokes “the anaerobic underbellies of Canadian peatlands” in fermentation jugs, on another they fashion “sculptural ponds of brine” (image).

Trevor Paglen’s solo exhibition “A Color Notation” opens at Pace’s recently expanded arts complex in Seoul. The show presents new and recent landscape photography (image: Near Bodega Bay Deep Semantic Image Segments, 2022) the American artist interpreted through custom-built computer vision systems and AI. “Through his masterful manipulation of these technologies, Paglen brings questions of perception to the fore of his image making practice,” Pace notes.