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.

Combining visual art and social architecture to redefine the village green, this collaborative project in the Nieuw West neighbourhood  of Amsterdam, has been initiated by the Stedelijk Museum and was designed and organised by Marjetica Potrand Wilde Westen, a group of architects, artists, designers and cultural producers. The project consists of a community vegetable garden and kitchen for use by neighbourhood residents, both of which it is hoped will remain in place after the official end of the programme. The organisers aim was to start a process of transformation for the neighbourhood: providing the people who live in the area with a way to redefine their relationship to public space and the public sphere.