The 24th edition of this trade fair is strap-lined Quality Beyond the Crisis, From Design to Distribution and its organiser and curator, Carlo Amadori, aims to bring 18 different sectors, all linked to the décor sector, together in a ‘river of ideas’. From furniture, kitchens, bathrooms, textiles, lighting, tableware, floor & wall coverings and upholstery, a selection of ‘total living’ is offered for both classic and contemporary tastes. Running parallel to ArtVerona for the first time, special exhibitions include a 25-year celebration of Sawaya & Moroni and Beautiful by Day, Beautiful by Night, featuring 16 totemic ceramics by Linde Burkhardt.

The 11th edition of Istanbul’s Art Biennial takes its title, What Keeps Mankind Alive? from the closing song of the second act of Bertolt Brecht’s The Threepenny Opera, written 80 years ago and interpreted by many artists of various genres like Tom Waits, William S. Burroughs and Pet Shop Boys. For the Zagreb-based curators WHW (What, How & for Whom), the proposition will serve as a trigger, as well as a certain script for the exhibition, allowing visitor and the artists to pose questions of economic and social urgency today. The artist list includes Nevin Aladağ, Alimjan Jorobaev, Signs of Conflict: Political Posters of Lebanon’s Civil War (a project by Zeina Maasri), Hrair Sarkissian, Ruti Sela & Maayan Amir, and Oraib Toukan ao.

Taking place in several venues in Lyon city and its suburban areas, the Biennial will present works by about 60 international artists. Structured as a multi-dimensional system that reflects both intellectually and physically the event’s central thesis – the Spectacle of the Everyday –, there will be four chapters and a special section. These include The Magic of Things, or the reinvention of the everyday; Living Together, which turns the Lyon’s Museum of Contemporary Art into an open platform, and Veduta, where several artists will be invited to reside in the suburban areas with a large immigrant population and produce new, collaborative works.

Taking places for the fifth time, this Biennial for contemporary art will take place in locations such at the city’s Library, Museum of Art, Röda Sten and Gallery Box. Under the heading What a Wonderful World, the Biennial aims to present a generous, poetic and sensual portrayal of human diversity and the human capacity for wonders as well as failures through the gaze and works of contemporary artists. Participants are from Sweden and abroad, and include Jörgen Svensson, Love Enqvist, Fiona Tan, Candice Breitz and Kutlug Ataman. Parallel to the main programme, local galleries and art projects will also be hosting numerous satellite exhibitions.

Half-naked women, gore and monsters have long been a formula for getting people to go to the cinema, and like some of its subject matter rising from the dead, Berlin's Bongout Gallery is resurrecting its exhibition of movie posters from Ghana.

Hand-painted pulp used to promote the country’s travelling cinemas (think man with a VCR, generator and car) since the 1980s, from big-budget Hollywood to debuts from African filmmakers, local artists would paint on old flour sacks that had been stitched together. It appears that seeing the movie was not so important for the people that made the posters, after all, why subject yourself to Bruce Willis when you have imagination and a film still.

Bongout is also publishing Ghanavision, an extended edition of last year’s Ghana Move Posters. Texts in German, English and French, the book documents the collections of Dr. W. Stäbler and Bongout.

This show features the ongoing urban research project of the urbanist, theorist and activist Kyong Park, carried out through different journeys along the intricate route between Istanbul and Tokyo. Examining the complex conditions and relations shaping the cultural, social and political territories throughout the Asian continent, Eurasia and the Middle East, this is what Park describes as The New Silk Roads. So far Park has carried out three expeditions, and he and his team of collaborators have visited and researched eight of the 20 countries that will involve the project, using the urban research method Park calls ‘nomadic practice’.

My dad told me about this one, so Banksy’s ‘secret’ exhibition is well and truly public now and looks set to become a bona fide ‘event’. The story goes that while the Museum was closed for setting up the show, even Bristol’s top officials didn’t know what was going on. Replacing many of the Museum’s artefacts, the anonymous artist (formerly know as ‘street’?) has installed around 100 works that infiltrate the gallery spaces. With the burnout ice-cream van, depictions of British politicians as chimps, other installations, animatronics and a sensory display, Banksy’s humour might sometimes bite from the obvious cake, but there is an incisive inventiveness to much of this new work that is an exhilarating example of engagement with the audience.

At the time of writing, the context in which this exhibition is viewed is subject to almost hourly change. It looks at the influences of homeland and diaspora on the artistic language of 56 contemporary Iranian artists, examining the means through which a young generation of artists is reconciling the daily implications of cultural and geographical distances with the search for individual artistic expression. Curated by Sam Bardaouil and Till Fellrath, over 200 works of painting, sculpture, photography, video and installation will be on show, with participants including Barbad Golshiri, Farideh Lashai, Mitra Tabrizian and Shoja Azari.

This exhibition explores the attraction of modern post-war buildings for three European artists born in the heyday of monumental architecture, as typified by London’s Barbican Centre. Respectively based in Dublin, Paris and Vienna, Gerard Byrne, Dominique Gonzalez-Foerster and Dorit Margreiter all use film and script to investigate and animate the architecture of the 1960s and this project brings them together for the first time. After World War II, architects looked to the abstract language of sculpture as a way of investing their buildings with greater power and significance. These forward-thinking forms, which still seem modern today, frame the exhibition.

What will our future look like? This exhibition features the visions of Belgian architect Luc Schuiten, who considers that we have perhaps too quickly forgotten that we are, first of all, biological beings inhabiting a planet that is itself alive. A coherent and poetical world is gradually built, drawn from the imagery of different futurist perspectives, unfolding in time. The original proposals present a positive vision of the future, reflected through the creation of a new relationship between human beings and their natural environment. These original ways of depicting a future drawing its inspiration from multiple ecosystems are underpinned by the close relationship that the artist shares with the biologists of the association Biomimicry Europa.