Remote is Mika Rottenberg’s first feature film. The New York-based artist was commissioned by Artangel, an organisation renowned for its promotion of interesting projects. Support also comes from art institutions across the world – Beijing, Denmark, Korea, Louisiana, Montreal and Stockholm. And to cap it all, the film is being premiered at Tate Modern during the week of Frieze, London’s major international art fair.

In later life Gustav Metzger appeared a marginal, eccentric figure. The diminutive, white-bearded artist, was often to be seen round London’s galleries in the early to mid-2010s, dropping off piles of hand-produced fliers urging his fellow artists to “remember nature”.

Cecelia Alemani's vision for The Milk of Dreams, the International Exhibition at the Venice Biennale 2022 had me excited – and perplexed – from the moment I heard about it.

The exhibitions of the German artist Anselm Kiefer have always been spectacular: large works with a numinous presence, often breath-taking and always mysterious. His new installation in Paris’s Grand Palais Ephémère, the temporary structure at the end of the Champ de Mars which stretches south from the Eiffel Tower, is perhaps the most ambitious work he has ever presented in a museum space.

Sarah Hall’s Burntcoat is one of those new books with the unsettling quality of describing or approximating a great moment in history and its aftermath, as the reader is still living through it. This could be trite, but Hall manages to make it compelling, tragic, and still sensitive in its handling of a love story during a time of terrible social upheaval.

“This book is a journey of historical discovery, set out sequentially in order to convey a sense of what has changed over time.” Add to this sentence, the title of the work from which it is taken, The Art Museum in Modern Times, and you’ll probably have a reasonable sense of Charles Saumarez Smith’s latest book. Simple, effective – Smith presents us with a series of case studies of museums, placed in chronological order according to each’s unveiling.

Moyra Davey’s biographical note, included in Fitzcarraldo Editions’ copy of Index Cards, describes “a New York-based artist whose work comprises the fields of photography, film and writing.” It is a useful aperture into the Toronto-born artist’s varied oeuvre, and to the book itself.

Arguably one of the most poignant effects of the lockdown has been to simultaneously draw attention to the connections between the arts and the distinct ways they have evolved into their own forms.

Normally we'd put a descriptor - "cellist", "film maker", "techno producer" for example - in the title of this interview, but for Irina Nalis there isn't space. Like, "10 Questions for psychologist, ministerial adviser, festival founder, architectural consultant, digital humanism activist and techno veteran Irina Nalis" wouldn't fit across the page. But that's the multidisciplinary world for you.

Fiftieth anniversary? It seems incredible but also so exhilarating not least because these times we live in now seem to me to be a golden age for music of all kinds and in particular for what we label so inadequately classical music.