‘Spellbound’ at the Ashmolean Museum, Oxford, traces magic and ritual from the Middle Ages to today

At Herald St, London, the artist presents paintings filled with smooth ovoid forms and the suggestion of a single, otherworldly light source

Recent paintings by Caragh Thuring, Phoebe Unwin and Clare Woods mine the tension between physical and imagined worlds

Commemorating the 100th anniversary of WWI, The Head & The Load at Tate Modern makes incomprehension the work’s guiding theme

Is the lack of social mobility in the arts due to a self-congratulatory conviction that the sector represents the solution rather than the problem?

Sir Simon Rattle and the LSO bring Stockhausen’s Gruppen für drei Orchester to the Tate’s cavernous space, 50 years after its London debut

With a new performance work for Manifesta 12 in Palermo, the Amsterdam-based artist explores a state of continuous partial attention

In a climate of perma-outrage has live art self-censored to live entertainment?

In our era of easy outrage, the first statue of a woman in Parliament Square is a timely celebration of unwavering belief

The artist's ominous paintings suggest imminent threat and moral decline at Mead Gallery, Warwick Arts Centre, Coventry

Castello di Rivoli Museo d'Arte Contemporanea, Turin, Italy

Are recent innovations in sustainable fashion enough to save the planet? 

South London Gallery, London, UK

At the Serpentine Marathon, artists and scientists considered AI, paranoia and the supernatural in an age of machine learning

Scarpati’s last and only work to survive him, ‘Putti’s Pudding’ (1989) was shown at Studio Voltaire, London, UK

Stills Gallery, Edinburgh, UK

Turner Contemporary, Margate, UK

Barbican Art Gallery, London, UK

On the singer’s glam debut album 

The long-awaited biopic of cult writer Jeremiah 'Terminator' LeRoy