Sala's film 1395 Days Without Red (2011) follows Spanish actor Maribel Verdú as she hesitantly makes her way through Sarajevo's Sniper Alley. The protagonist shifts between hesitancy and fearful dashes, while a soundtrack of the Sarajevo Symphony Orchestra rehearsing Tchaikovsky's Pathétique accompanies the images with similar stops and starts. At Irish Museum of Modern Art Annex at National Concert Hall, until 15 July 2012 Photograph: PR
Hesketh is obviously a character and it shows in her large and brazenly sensuous paintings. You're never quite sure whether what's going on is a matter of fun or fear; one expressionistic image of sexual entanglement is simply titled Bang (above). At Dean Clough, until 16 September 2012 Photograph: PR
Nauman's ephemeral art of words and performance uses the bare stuff of life. In Days, the sound work taking over the ICA's lower gallery, which formed part of his Golden Lion-winning show at the Venice Biennial in 2009, it's the days of the week, spoken by seven men and women of varying ages. Above, Bruce Nauman, Untitled, 2008. At ICA, SW1, 19 June to 16 September 2012
Photograph: John Wronn/The Museum of Modern Art, New York/Scala, Florence
Rawlings's camera drifts around the coast of Iceland following routes laid down in the journals of 19th- and 20th-century travellers Elizabeth Jane Oswald and Alfred Craig. Above, a still from Jini Rawlings's Bound for Iceland. At Maritime Museum, until 1 September 2012 Photograph: PR
A 'face-off with beauty' is how Crisp describes her latest photography installation, Negative Capability: The Stourhead Cycle. Instead of the expected swoonsome shots of the National Trust house's 18th-century landscaped gardens, her images are all screens and silhouettes. Above Fiona Crisp, The Pantheon (2006/12). At Matt's Gallery, E3, 20 June to 29 July 2012
Photograph: Courtesy the artist and Matt's Gallery, London
Interlinked picnic tables have invaded the Cass Sculpture Foundation's Deer Hut Ground, spread out like a protective suit of wooden armour – sculptor David Brooks's Picnic Grove makes a playful comment on how we get together in the great outdoors. In the Coastal Field, Tony Cragg has set two of his huge fibreglass sculptures from his Rational Beings series: rippling forms that resemble a stack of spinning dishes or a dancer pirouetting at high speed. Above, Tony Cragg's Current Version (2010). At Cass Sculpture Foundation, 21 June to 4 November 2012
Photograph: Courtesy the artist and Cass Sculpture Foundation
Spencer transfers the bold brushwork and heavily saturated colours of the French post-impressionists to the Manchester and Oldham terraced red-brick backstreets of a century later. This retrospective show sees the artist using the same inconspicuous aesthetic formula to treat the skyscrapers of downtown Manhattan, the cyclists of Beijing, and the dark, dank and moody expanses of the Rossendale Valley. Above, Liam Spencer's Cyclists in the Rain, Beijing. At Gallery Oldham, until 6 October 2012 Photograph: PR
Yoko Ono's message of peace and love has stayed true for over five decades, and this show promises a measure of how those 1960s values translate today. While many of Ono's early works bristled with the threat of violence – Cut Piece had the audience scissoring off her clothes – the political art she's made of late is far more upbeat, including getting people to remake broken things and to hang wishes on trees. Above, Yoko Ono's Apple, 1996 (withered state). At Serpentine Gallery, W2, 19 June to 9 September 2012
Photograph: Iain Macmillan/Serpentine Gallery
