The list of source materials here sounds traditionally reassuring and conventionally attractive: mannequins, pin-ups, mirrors, lipstick, ribbons, buttons, false eyelashes, spray tan and lace. Yet once assembled by Donnelly the outcome is unnerving. Above, Home-Wear in Vanity Fair, 2011. Samantha Donnelly: Contour States is at Cornerhouse, until 25 March 2012
Photograph: Image courtesy of the artist and Ceri Hand Gallery
Gifford's creations channel everyday mark-making. Strokes of house paint – scuffed up or spread across canvases and boards – might have been left by an errant decorator. It might all seem random, were it not for the way Gifford orchestrates her works with chiming marks and forms, quietly transforming the spaces they inhabit. Above, Whistle, 2011. At David Roberts Art Foundation, W1, until 24 March 2012
Photograph: Courtesy of the artist and Laura Bartlett Gallery
With typical sensitivity, Darbyshire's installation is composed according to its site; sculpture, film and printmaking refer to Glasgow's architectural and cultural history. Yet his slick portrait of habitats might well strike a discomfiting note far further afield for us all. Above, from T Rooms, Matthew Darbyshire, 2012, rendering by Bob Hobbs. At Tramway until 11 March 2012
Photograph: Courtesy the artist
The Mexican artist explores what happens when you say no, or at least what happened when he took a giant sculpture of the word on a global tour. Above, Santiago Sierra, NO Global Tour 1, from the carpenter shop to the former stable, Lucca, Italy, July 2009. At Lisson Gallery, NW1, 1 February 2012 until 3 March 2012
Photograph: Courtesy the artist and Lisson Gallery
Martin's latest film essay, Louis Ghost Chair, should make you think twice about the objects around you. In the style of museum audio guides, a woman's voice meditates on the memories objects carry, the psychic shift from craftsmanship to serial mass production. Above, Louis Ghost Chair Production Still 2011. At Holburne Museum of Art until 15 April 2012
Photograph: David Pearson/Courtesy of Film and Video Umbrella
Demand chooses a set of maquettes by architect John Lautner, and focuses in close, revealing subtle abstract details. Above, Thomas Demand, Wood 89, 2011, Pigment Print, Model Studies. An accompanying show by the Bethlehem-based group Daar tells a more disturbing architectural tale, recreating a section of the Palestinian parliament, abandoned in 2003. At Nottingham Contemporary until 15 April 2012
Photograph: Thomas Demand
Alsop collaborates with architecture students to present a large-scale 3D painting. Meanwhile John Wood and Paul Harrison stage a more slapstick take on our experience of interior design in their show Twenty Six (Drawing and Falling Things), 2001, pictured here. At The Public until 20 May 2012 Photograph: PR
This survey shows that there's more to Shrigley than caustic doodles. His sculptures include stuffed puppies and kittens with signs saying 'I'm Dead'. Above, I'm Dead, 2010. At Hayward Gallery, SE1, 1 February 2012 until 13 May 2012
Photograph: Ruth Clark/image courtesy of Glasgow international festival
