Matt Stokes: Cantata Profana, Dilston Grove, Southwark Park, until 26 April; and Madman in a Lifeboat, Matts Gallery, until 24 May
It is a full-on face-off with a formidable lineup of extreme metal vocalists in this six-screen sound and video installation in a deconsecrated Romanesque-style church on the edge of leafy Southwark Park. Each of these growly dudes give their vein-popping all as they belt out a specially-composed grind-core composition made in collaboration with Orlando Gough and artist/musician Tim Kerr.
Stokes’ ongoing investigation into the events and beliefs that shape individual lives is also given a rather more sedate airing in an expansive (and less ear-bleeding) new sculptural installation running concurrently at Matt’s Gallery that is based on the bizarre fantasy world of real-life East London pensioner Charlie Seber. These strange imaginings range from the paraphernalia of an alternative religion to an episode of a bizarre sitcom and a real Robin Reliant car, marooned in the gallery amid a sea of sooty black chunks of charcoal.
Sonia Delaunay, Tate Modern, until 9 August
Proper justice has been done at last to this extraordinary polymath and pioneer of abstraction, whose protean creativity has hitherto been eclipsed by her less interesting husband, Robert.
As well as her brilliantly-hued Simultaneous paintings created to capture and celebrate the dynamism of modern life, Delaunay also translated Kandinsky, exhibited with Picasso and Braque, designed textiles, costumes and clothes for Dadaists, Diaghilev and department stores and danced and depicted a mean tango.
Her revolutionary designs—Simultaneous Gilet or Poem-Dress, anyone?—were hard-core, avant-garde works in their own right, her immersive modernist interiors predated the Bauhaus and she was producing op-art decades before Bridget Riley. And all of this underpinned by a lifelong passion for retina-zipping colour that runs through and animates this stunning 60-year survey.
The Wanderer’s Nightsong II, C&C Gallery, 18 London Road, until 10 May
An important and thought-provoking show by this enterprising South London gallery explores the rich visual and conceptual implications and possibilities of 3D printing and scanning, beyond the usual wearisome wow-factor.
Gavin Turk, Cathy De Monchaux, Kate Atkin, Chris Hawtin and Neil Gall have each worked closely with the curator, collaborator and fellow artist Ian Dawson to create works in myriad media that converse with and/or owe their existence to these new imaging technologies.
As an added bonus, Gavin Turk’s ceramic maquettes that riff on the many incarnations of the Classical reclining sculpture of Ariadne also provide a sneak preview of his large-scale sculpture, commissioned by Damien Hirst and to be installed in the foyer of his new Vauxhall gallery later this year.
Zhang Enli Four Seasons and Land Marks: Structures for a Poetic Universe, Hauser & Wirth Somerset, until 21 June
The Serpentine’s egg-like 2014 Pavilion designed by the Chilean architect Smiljan Radic has now come permanently to rest in the rural grounds of Hauser & Wirth Somerset. To celebrate this move, the gallery has launched an architecture season, the high point of which is a museum-quality exhibition exploring the porous boundaries between sculpture and architecture and how such structures shape both city and landscape.
This deliciously eclectic span of plans, models and artefacts is predominantly drawn from a private collection and includes Ruskin’s own (personally annotated) stone collection; Mies Van Der Rohe’s photomontage of the glass Freidrichstrasse tower, Le Corbusier’s maquette for the Open Hand Monument and Buckmaster Fuller’s Geodesic perspex chandelier’ made as a wedding present for Princess Margaret and Lord Snowden in 1960.
In adjoining spaces, a newly commissioned sound piece by Susan Philipsz and nature-inspired paintings by Zhang Enli provide a more contemporary and site-specific response to these former farm buildings.