The Yangjiang Group make it their expressed aim to give a twist to Chinese traditions such as Shu Fa calligraphy and tea-tasting hospitalities. And also cricket. At Eastside the life-size pavilion provides the setting for the serving of an artistic meal after which the leftovers are arranged into calligraphic sequences. At Eastside Projects, 17 March until 5 May 2012 Photograph: PR
Dan Graham’s iconic pavilions, small enclosures made from steel frames and sheets of mirrored glass, recall the inhuman elegance of Le Corbusier’s modern buildings or minimalist sculpture. Seen in photographs they can seem a dry affair – they have to be experienced. With their mirrored, just transparent walls, his pavilions have a funhouse feel. At Lisson Gallery, NW1, 21 March until 28 April 2012 Photograph: courtesy the artist and Lisson Gallery
Biagioli constructs disjointed sculptural assemblages and weaves together apparently disconnected sound and word fragments. There are glimpses of Jungian archetypes and hints of mythic narratives. And there’s a twisted installation of white plastic drainage pipes (pictured) that looks as if it has been plumbed together by some crazed DIY fanatic. At Untitled Gallery, 17 March until 28 April 2012 Photograph: PR
Stacks of aged cathode-ray TV sets line the Ambika P3 walls, their faux-wood boxes and flickering screens emitting a hubbub of programmes aired on analogue stations, right up to the moment digital takes over on 18 April. When the final analogue transmission breathes its last, they’ll transmit nothing but ghostly whispers of static. At Ambika P3, NW1, until 22 April 2012 Photograph: PR
An increasing number of contemporary artists work from the creative viewpoint of differing artistic personas. Timoney has adopted this outlook to such an extent that his solo exhibitions tend to seem like group shows. This show is called Shepard Tone, but the title has no obvious connection to the disparate paintings of a blurry tree and an utterly unremarkable house facade. At The Modern Institute until 11 April 2012
Photograph: Ruth Clark
They might resemble the rickety, lo-fi experiments of a backyard inventor, but Nina Canell’s weird machines are more about leftfield poetry than gadgetry. For her London debut, the Swedish artist meditates on the dream state in which the Russian chemist Dmitri Mendeleev was said to have envisioned the periodic table of elements. At Cubitt Gallery, N1, 23 March until 4 May 2012 Photograph: PR
This show presents contemporary art perspectives on the phenomena by which our individual nervous systems are increasingly plugged into a collective network of constantly evolving electronic communications systems. It’s art that's interactive and immersive. A central fascination of the show is bound to be Karina Smigla-Bobinski’s ADA (pictured), a giant free-floating sculptural membrane that spookily interacts with its environment. At FACT, until 27 May 2012 Photograph: PR
This Kentish septuagenarian is something of a latecomer to British art’s starry stage, mining the kind of freeform imagination kids are blessed with in works such as 2009's Acorn & Jay (pictured). She takes a devil-may-care attitude to image-making, with paintings often stretching across several sheets of stuck-together paper, or with fresh bits of paper pasted over sections that don’t work. The exhibition marks the opening of the Jerwood Foundation's new outpost in Hastings – Jerwood Gallery, 17 March until 1 July 2012 Photograph: PR
