Adrian Searle
Adrian Searle has been art critic for the Guardian since 1996. Trained as a painter, he began writing in 1976 for Artscribe magazine and continues to contribute to art magazines and journals. His publications include a recent Phaidon monograph on Peter Doig (2007). He has curated several exhibitions in the UK, Europe and the USA, including shows for the Hayward in 1994 and the Reina Sofia in Madrid in 2003. Most recently he curated the first retrospective of Brazilian sculptor Lucia Nogueira (1950-98), for the Serralves Museum in Porto, Portugal. He was a Turner Prize juror in 2004. Searle has taught at many art colleges in Britain and Europe and is currently a visiting professor at the Royal College of Art in London.
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Pablo Bronstein review – no disco dads allowed in Tate's time-benderTate Britain, London
Past and present shimmy around one another like three graces at a voguing contest in this stately dance work, casting new light on an old building -
Nothing to see here: the artist giving gallery staff a month off workGerman artist Maria Eichhorn has closed a London gallery and sent all its staff home – an empty gesture or a profound critique of our working lives?
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Conceptual Art in Britain review – a trainspotter's guideAt its best, British conceptualism was a breath of fresh air. Suffocated in vitrine after vitrine, that spirit has been stultified in this nerdy, joyless survey
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Glasgow International rules the wavesFrom skateboarding clams and swimsuit performance art to QE3’s maiden voyage, Sarah McCrory’s 2016 festival programme is awash with freewheeling energy, but some shows sink under their own weight
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Simon Starling review – a fabulist's journey, from burned boats to BabbageNottingham Contemporary/Backlit Gallery
The Turner-prize winner has gone into his alchemist’s workshop for his biggest ever UK show, bringing out steel blobs and magnesium canoes. These layered histories of labour and chemistry are stupendous -
Omer Fast: Present Continuous review – teasing takes on sex, death and traumaThis mesmerising collection of film and video work by the Israeli artist is full of dangling clues and subliminal messages, playing fast and loose with our credulity
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From Marx to Brexit: Tyneside's AV festival paints the whole world redSocialism is the theme of this year’s multimedia festival, with George Orwell, the Jarrow Crusade and a worrying Muscovite blogger among its inspirations
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Hilma af Klint/Das Institut review – neon breasts and magical abstractionAf Klint’s extraordinary paintings harness geometry, science and sex; as do the alchemical installations of art collective Das Institut. Together they delight
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Full Marks: Mark Wallinger's ID runs rampant in his new showHis hands invading Michelangelo, the roundabout where he learned to drive, his own shadow nipping out for a stroll … Adrian Searle finds traces of Mark Wallinger everywhere in his new show ID
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Electronic Superhighway review – 50 years of internet sex and roadkillThis uneven, fascinating and terrifying show presents a history of internet art in a series of snapshots – and a signpost that things have just begun
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John Akomfrah's Vertigo Sea: human and natural history meet at the abyssRecurring images of historical horrors – from slave killings to drowning migrants – are cut with nature in Akomfrah’s new video installations in Bristol and London. Past and present dissolve, leaving us stranded, waiting for the future
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An ashtray for President Tito: after the fall, the staying power of Yugoslav artThe UK’s largest-ever show of art from communist Yugoslavia has plenty to say about the purpose and political usefulness of culture today
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Champagne Life review – all-female show doesn’t make Saatchi a feministIt’s hard to see the point of this flat, gimmicky exhibition that lumps together 14 women artists, but declines a deeper discussion into gender
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Ellsworth Kelly: remembering an abstract artist with perfect pitchFocussing almost entirely on shape and colour, the late artist made artwork felt with your body as much as your eyes, with an unerring spareness and elegance
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Adrian Searle's 10 best art shows of 2015Goya delighted and Ai Weiwei delivered. But 2015 belonged to the Whitney and its glorious look back at American art, says our art critic
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Power to the people! Assemble win the Turner prize by ignoring the art marketThe young architecture collective extend their artfulness into everyday life. Their work is a welcome, and vital, part of a bigger battle against social division under the Tories
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Tightrope Walk: the show that sums up art in 67 paintingsAs De Keyser’s last works brood at the David Zwirner, a sweeping account of modern painting from Chris Ofili’s sexual fireworks to Lucian Freud’s meaty closeups lights up London’s White Cube
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Michael Craig-Martin review – a malevolent graveyard of techWhether he’s painting tape cassettes, Xbox controllers or iPhones, Craig-Martin’s odd, lurid objects don’t just show us the days we’ve lost – they glower back at us
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552 hours of surprises: artist brings open-mic mayhem to BristolSanctum, Theaster Gates’s new public art commission, has a top secret schedule of performers – and for the next month, the crowd will never know what they’re going to get
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Charlotte Prodger's elegy to time, loss and casual sexNina Simone on the edge, sex at a trucking stop, land art and a coffin road: the artist’s new film Stoneymollan Trail is like stepping inside another person’s brain. What a moving, perplexing experience
Alex Katz: Quick Light review – a bright burst of life in freeze-frame