Danish-Norwegian duo Elmgreen & Dragset seem the perfect choice to create the next instalment for Trafalgar Square’s fourth plinth in London. The duo have long displayed a wicked genius for the politics of place, and their plinth is a cheeky riposte to traditional statues of military leaders on horseback: a giant bronze boy atop a rocking horse. At Trafalgar Square, London WC2, 23 February 2012 until 2013
Photograph: James O Jenkins
Fulton’s exhibition, including Coast to Coast, records his almost ritualised walking expeditions – politically orientated treks taking in the top of Everest and London’s Chinese embassy. Fulton's show runs alongside an exhibition by Sarah Browne, an artist who has a knack for creating art out of what most of us would call something else. At Ikon Gallery until 22 April 2012 Photograph: Courtesy the artist
These artists make more than photo and video documentary. They create history paintings of often officially hidden scenarios that resonate in our collective memories. They faithfully record fact, but also empathically embody the experiential aura of such daunting sites as a swimming pool abandoned as the Chernobyl nuclear disaster struck. At Dundee Contemporary Arts until 25 March 2012 Photograph: Courtesy of Jane & Louise Wilson and 303 Gallery
Deller's first major survey – including History of the World, pictured – demonstrates how human experience is the artist's primary focus. As cemented in his landmark work The Battle of Orgreave, which reconstructed the confrontation between police and pickets during the 1984-85 miners’ strike, the question of what people feel surfaces again and again in his politically charged probing of culture and class. At Hayward Gallery, London SE1, 22 February until 13 May 2012
Photograph: Courtesy the artist
Aldridge has described her work as “expanded collage”. If a predominant stream of 20th-century art consisted of fragments of disparate images, Aldridge has artistic fun disassembling and even seemingly exploding her hand-crafted elements across gallery floors and walls. A crowd of oversized fabric pockets, made of cotton or denim, occupy the walls here like a theatrical lineup of puppetry wombs. At Centre For Contemporary Arts until 3 March Photograph: Andy Keate
Götz’s hard-edged abstract paintings coat entire walls with clashing stripes, diamond lattices, criss-crossing lines and spooning curves. In the past 10 years the German-born, London-based artist has turned buildings into paintings you can walk around in, from underground bunkers to airy warehouses and the in-between spaces of Piccadilly tube station. At Chapter until 1 April Photograph: Michael Franke
Van Dyck is known as the great painter of English aristocrats. In 1624, however, he spent a year in Palermo, Sicily. This exhibition marks the UK debut for the body of work that came about as a result, in particular a portrait of St Rosalia, a medieval hermit whose bones were said to have cured the city of the plague. At Dulwich Picture Gallery, London SE21, until 27 May Photograph: The Menil Collection, Houston
Fogarty’s exhibition is called Totem yet, rather than tribal belonging, Fogarty’s pile-ups of found imagery – such as retro poster design to The Roads Beautifying Association’s 1930 publication Roadside Planting – suspend us in deliberate, deadpan cultural alienation. At Bureau Gallery until 17 March Photograph: PR
