Now in its second year, Snap, the contemporary art addition to what will be the 64th Aldeburgh classical music festival at Snape Maltings, is pairing up-and-comers with established names and a few art-historical greats. One of Ryan Gander's brain-teasing lectures-cum-detective stories kicks off proceedings. Meanwhile, Maggi Hambling is complementing her tumultuous seascapes with her first ever sound work, while Gavin Turk's left an open door (pictured) in the middle of a field like a magic portal. At Snape Maltings until 24 June 2012 Photograph: PR
Isabel Rawsthorne is more recognised through the warped features from Francis Bacon's portraits of her than in the drawings and paintings she pursued in the latter half of the 20th century. Shifting between the postwar bohemia of Paris's Left Bank and the boozy bonhomie of 50s Soho London, Rawsthorne was doomed to be overshadowed by such legendary artists of the time as her friends Bacon and Alberto Giacometti. This exhibition is a long overdue reappraisal of a highly individualistic body of work, such as Cat Fonteyn (pictured). At New Art Gallery until 8 September 2012 Photograph: PR
Lis Rhodes's experimental film installation Dissonance and Disturbance (until 24 June 2012) is a free-association onslaught, in which marks scratched into the film become sounds and are broadcast as sporadic buzzing. Meanwhile, the visual projections take their cue from this in a sequence of pulsating geometric grids. The sensory disorientations of Antonia Hirsch's installation (until 1 July 2012) are no less extreme, as flashes of light punctuate readings from Dalton Trumbo's Johnny Got His Gun, an anti-war novel narrated by an injured ex-soldier who experiences the world as a series of distressed abstractions. At Tramway Photograph: PR
An intriguing grouping of sculptures that all touch on issues of presence and absence. Sara Barker's precarious architectural constructions frame a very evocative nothingness. The human subjects in Alice Channer's installations such as Cold Metal Body (pictured) are represented by hand and body smears, alarming imprints on curtains that always invoke Hitchcock. Meanwhile, Caroline Achaintre's hauntings tend to be more in-your-face – a potent amalgam of horror schlock and oh-so-nice craftiness. At Eastside Projects until 28 July 2012 Photograph: PR
This year, Venus has been passing between Earth and the sun, visible as a black dot. Only 53 of these 'transits' have occurred since 2000BC, and in the late-18th century one prompted the first international scientific expedition, with boffins taking to the seas to observe its passage. Lynette Wallworth also looks to the ocean for her work Coral: Rekindling Venus, installed in 20 planetariums worldwide. She's replaced the cosmos with an underwater world of endangered creatures filmed in coral reefs. Accompanying sounds come from Antony and the Johnsons and Tanya Tagaq Gillis. At Royal Observatory Greenwich, SE10, until 6 July 2012 Photograph: PR
Wide Open School (from 11 June until 11 July 2012) sounds like a glorious pipe dream of an education system which no one has had the nerve to attempt. It will see 100 artists – including Martin Creed, Jeremy Deller and Thomas Hirschhorn – devising and delivering classes. Subjects will take in Freddie Mercury, deep space, and sex in the colonies. Upstairs at London's Hayward, there's 'invisible art' (12 June until 5 August 2012) from Andy Warhol, Yoko Ono and Maurizio Cattelan. It chronicles over 50 years of unseen art, from Yves Klein's famous empty galleries – purportedly full of invisible energy – to the vibrating walls of Jeppe Hein's Invisible Labyrinth (pictured). At Hayward Gallery, SE1 Photograph: Anders Sune Berg
Richard Rigg selects structural banalities from our everyday worlds, lifts them out of their settings, and recombines them to make sculptural metaphors for states of mind that are either delightful or deranged. A mountain cabin contains a mock-up mountainous landscape, its Scottish Highland rocks apparently derived from the Precambrian geological period that predates human life. Thus, the almost unimaginable grandeur of nature is deposited for our contemplation in a typically clinical white-cube gallery. At Baltic until 27 August 2012 Photograph: PR
Fifty years ago, a group of American artists waved goodbye to galleries and the art market and headed for the wilderness to construct huge earthworks and industrial sculptures. Michael Heizer cut deep welts in the Nevada desert; Robert Smithson built his legendary Spiral Jetty; while his partner, Nancy Holt, left her Sun Tunnels in its desert: giant concrete tubes that frame the heavens. This show of Holt's photography suggests that the umbilical cord linking land art to the urban art world was never cut. It includes thrilling images of works like the Sun Tunnels, but it wasn't just America's Big Country that enthralled her: one rare set of photographs show Holt and Smithson's work in Dartmoor, made while travelling around Britain's ancient stone circles and monoliths. At Haunch Of Venison, London W1, until 25 August 2012 Photograph: PR
