Isabel Nolan, Dublin
The installations of Irish artist Isabel Nolan are hard to define, categorise or pin down. The mix of media shifts between sculptures, texts, drawings and woven rugs. Such fragmented elements are combined to produce cryptic assemblages that are neither abstract nor figurative, but unrelentingly peculiar. Cultural references range from the humoral theories of ancient Greek medicine, through medieval illuminated manuscript design, to cosmological history. The exhibition title, The Weakened Eye Of Day, is taken from a 1899 Thomas Hardy poem mourning the passing of the light until birdsong awakens the poet from melancholy.
Irish Museum Of Modern Art, to 21 Sep
The Wind Tunnel Project, Farnborough
Farnborough's wind tunnels have been testing aircraft since 1917. Racing cars were also observed in them during the 1990s, but in recent years, these listed buildings have stood empty. To mark their public opening this month, two artists are bringing their history to life. Thor McIntyre-Burnie is making the most of the tunnels' cathedral-like acoustics, with a sound work partly inspired by the BBC's accidental recording of a second world war bombing raid. Echoing around the lofty space, it nicely plays up aircraft's double-edged association of freedom and threat. James Bridle, meanwhile, has a personal connection to the tunnels: his grandfather used to work here. His irainbow planei installation explores the invisible presence of surveillance technology.
The Wind Tunnel Project, Mon 9 Jun to 20 Jul
Nasreen Mohamedi, Liverpool
Timed to coincide with the Tate Liverpool's Mondrian exhibition, this largest ever UK show of drawings and photographs by the late Indian artist Nasreen Mohamedi could very well steal the limelight. Seemingly more sensitive and introverted than any of her western modernist contemporaries, Mohamedi dedicated herself to a lifetime's pursuit of what she called ithe maximum of the minimumi and ithe limitless of limitsi. In painstakingly composed pen and pencil drawings she conjures geometric abstractions that evoke fleeting states of mind. Monochrome photographs of waves breaking on a beach or of unremarkable street corners offer glimpses into places to pause and reflect. This might all seem esoteric, but to see over 60 Mohamedi works hung together creates a seductive charm.
Tate Liverpool, to 5 Oct
British Folk Art, London
The Tate is raising a Toby Jug to people who never dreamed their output would find its way to a gallery wall, or indeed might not have known or cared what a gallery was. Regional collections countrywide have been scoured to assemble 400 years of work by Britain's often anonymous craftspeople. From ships' figureheads to shop signs and pincushions, the offerings are by turns exquisitely crafted and rivetingly odd. There's James Williams's patchwork bedspread depicting a naked Adam amid jungle animals, for instance; and George Smart, the Georgian tailor who made pictures of rural characters from fabric scraps, which became a tourist attractions in his native Sussex.
Tate Britain, SW1, Tue 10 Jun to 31 Aug
Mark Garry, Dublin
Briefly celebrated as the New York folk world's answer to Billie Holiday before dying in obscurity from drink and drugs, Karen Dalton is represented here as Mark Garry's tragic everywoman, in three large-scale silkscreen prints. Elsewhere, Garry crafts a film where a white feather drifts through a darkened room before being caught and held for the briefest of moments, then let go. In an accompanying series of photographs, the darkness seems unrelenting until suddenly punctuated by the shock of a magnolia blossom. Garry constantly points us to things on their way out
or altogether gone.
Kerlin Gallery, to 28 Jun
Bridget Riley: The Stripe Paintings, London
What Bridget Riley can do with a straight line is marvellous. In this stripes-focused survey, she confounds and seduces the eye, varying density, colour and rhythm, across paintings culled from the past five decades. The earliest offering, with lateral stripes in the black-and-white palette that made Riley a reluctant pop sensation, dates from 1961. Rightly titled Horizontal Vibration, it seems to pulse, like plucked violin strings. At the end of that decade her experiments with optics and the essential ingredients of painting, including the visual beats, space and colour she so admired in Old Masters like Raphael, expand to works with colour like the diagonal lilac, white, red and green stripes of the diptych Prairie. The looser colour schemes of her 1980s works were inspired by the palette of ancient Egyptian art, while, with their undulating horizons, her most recent lushly hued offerings recall landscapes.
David Zwirner, W1, Fri 13 Jun to 25 Jul
Cornelia Parker; The Royal Academy Summer Exhibition, London
The Royal Academy'sSummer Show might lean on the traditional side with plenty of nudes, still lifes and landscapes, but alongside work by established artists, unknowns are given space. Artist Cornelia Parker meanwhile, is curating a room of black and white-only work by some of her favourite artists. David Shrigley, Bob and Roberta Smith and Turner winner Laure Provost all take part, while Martin Creed's contribution is a neon that simply reads iAssholesi.
Royal Academy Of Arts, W1, Mon to 17 Aug
Dazed & Confused's visual arts editor Francesca Gavin curates a show which asks what remains in contemporary art of the transcendental spirit of the rave scene. On the face of it, the clinical, typical white cube gallery with its calculating dealers and theorising academics might seem diametrically removed from the improvised DIY tactics and utopian hedonism of rave. But Gavin recognises aspects of
rave in the high-tech media of today's brightest gallery work. So here the likes of Hannah Perry, Christian J Peterson and Harry Burdon, together with Jeremy Deller, present digitally infused reflections on neo-psych that are as seductively in your face as they are brazenly off their bonce.
Site Gallery, to 16 Aug