Showcasing UK artist Anthony McCall’s multi-decade exploration of sculptural projection, “Solid Light” opens at the Tate in London. Covering the gamut of his Solid Light Works, featured installations span Line Describing a Cone (1973), in which a 16 mm film project traces a conical volume, through Split-Second Mirror (2018, image), in which a mirror interrupts a plane of light. McCall’s recent works push at “reinterpreting sculptural space using cinematic devices,” write curators Gregor Muir and Andrew de Brún.

A remote summer series about online identity, “Profiling” kicks off at MIT’s List Visual Arts Center. Commencing with Mary Stephenson’s My Director & Me (2024, image), a whimsical home performance about an imaginary film shoot that participants enact by following a provided script, five artist-designed questionnaires and exercises will be issued over email. Subsequent releases from Lauren Lee McCarthy, Kameelah Janan Rasheed, Mariam Suhail, and Anne Le Troter are slated for July and August.

Brazillian developer Luizão releases schematics for a scaled-down version of the core rope memory module used by NASA in the 1960s. Deployed in interplanetary probes and the Apollo Guidance Computer, core rope memory is woven read-only memory that uses magnetic cores and wires to store data. Luizão’s implementation has 12 addresses x 8 bit values (96 bit memory)—a rotary dial cycles between data stored in each core, which is indicated by varying light combinations at the top of his assembly.

A show about how information “manipulation and obfuscation is the norm rather than the exception” in public discourse, “Really? Art & Knowledge in Time of Crisis” opens at Framer Framed in Amsterdam. Paolo Cirio, Zheng Mahler, Ho Tzu Nyen, and others present works on post-truth knowledge flows for curators David Garcia and Mi You. Anna Engelhardt & Mark Cinkevich’s Terror Element (2024, image), for example, is a CGI documentary “exploring the investigative method and fallibility of truth.”

Geospatial data scientist Derek Taylor launches Climate Zones, a web-based visual essay that shows how the climate classifications of major cities will shift over the next half-century due to rising temperatures. Unsurprisingly, the prognosis is grim. “In the near future, people might brag about their luxurious beachside resort in Copenhagen,” writes Taylor, imagining a ‘Scandanavian Riveria’ as an outcome of the northern region heating up from a cold to a temperate classification.

A collaboration between CERN and the Galician Institute of High Energy Physics (IGFAE), Armin Linke’s “Instruments of Vision” opens at the historic Igrexa da Universidade church in Santiago (ES). Presenting a selection of photographs shot over the more than two decades the Italian artist has spent documenting research at European particle physics facilities, the Mónica Bello-curated show starkly juxtaposes images of technocratic scientists and their tools with the divinity of a baroque church.

Coinciding with the summer solstice, Irish artist John Gerrard’s yearlong performance crystalline work (arctic) (2024-25, image) commences on Feral File. The browser-based simulation presents a top-down view of a robot arm operating at the North Pole, organizing tiny light-catching shards into ornate crystal patterns called ‘archetypes.’ The 24 archetypes produced per solar day are tokenized as NFTs, and Gerrard will donate 25% of sales revenue to help restore the Wild Atlantic Rainforest in Connemara (IE).

“PART TIME COMMITMENT SERIES,” a programming cycle exploring time and productivity, kicks off at Munich’s Lothringer 13 Halle (DE). Its first chapter presents Out of Your Head and Into my Body (2024, image), an installation by the OTC collective that mirrors workers in an assembly in which components “are connected to each other, face each other, hold each other.” Future chapters include presentations on agricultural and industrial labour by Verena Hägler and Nicola Reiter and an anti-work session.

Spanning two venues, Basel Abbas & Ruanne Abou-Rahme’s “The song is the call, and the land is calling” opens at Copenhagen Contemporary (CC) and Ny Carlsberg Glyptotek. At CC, they present May Amnesia: Only Sounds that Tremble Through Us (2020-, image), a poetic remix of social media clips depicting joyful moments of song and dance from Iraq, Palestine, and Syria. The work by the duo—both of Palestinian descent—explores “how shattered communities resist annihilation and reclaim place, self, and community.”

Exploring the intersection of Blackness and geological time, Cauleen Smith’s film The Deep West Assembly (2024) debuts at her Astrup Fearnley Museum solo show in Oslo. In the film, the American artist juxtaposes imagery of geological formations and human-made landforms with narration drawn from various texts, including her Volcano Manifesto (2022), to articulate the deep time of the Mississippi River Delta. A video installation, textile banner series, and reading room round out the exhibition.