There are children screaming in a nearby playground. Their voices rise and fall, swell and drop. Interspersed silences fill with the sound of running, the movement and cacophony orchestrated by a boy who leads on the catch tone. It's simultaneously otherworldly and juvenile, adept and improvised – a fitting soundtrack to Anish Kapoor's latest exhibition at Lisson Gallery. 

There’s a barely disguised sense of threat running through the 2019 Venice Biennale. Of the 79 participating artists and groups, all are living and there’s a sharp sense that the purpose of the exhibition is to diagnose the ills afflicting the contemporary world.

Dried flowers like offerings lie atop a gauze-covered rectangular frame. Pebbles surround its base alongside plaster casts, a desiccated dragonfly and an animal foot charm. Their placement is purposeful; their exact significance unclear. Four rib-high figures with moon faces, sausage string necks and wafer-thin bodies face the frame. Three wear golden gowns like devotees or disciples; all bear pendulous, darkly bellying stomachs before them over their clothes.

The Brighton Festival begins in May. Since 2014 theartsdesk has had a media partnership with this lively, multi-faceted event which takes place over three weeks. This year the Guest Director is the Malian musician Rokia Traoré, who inhabits a position previously filled by cultural figures such as Brian Eno, David Shrigley, Kate Tempest, Anish Kapoor and Vanessa Redgrave.

Familiarity breeds contempt, which makes it difficult to look at Edwin Landseer’s The Monarch of the Glen (pictured below). The reproduction of this proud beastie on T-towels, aprons, jigsaws and biscuit tins blinds one to the subtle nuances of the original painting.

It’s been a whirlwind year for Tracey Emin, CBE, RA. Her pink neon sign, “I want my time with you”, greets passengers at St Pancras station, she’s installed bronze birds all over Sydney city centre, she’s making a derelict print works in Margate into a living-space/studio that’s going to be like Rodin’s in Paris but “slightly bigger”, and she’s got married. To a large stone in her garden in the south of France. This was an empowering, really good, healthy thing, apparently.

What an ambitious project! Modern Couples: Art, Intimacy and the Avant-garde looks at over 40 couples or, in some cases, trios whose love galvanised them into creative activity either individually or in collaboration.

There’s a building site outside the Towner Art Gallery and a cement mixer seems to have strayed over the threshold into the foyer. This specimen (pictured below right) no longer produces cement, though. David Batchelor has transformed it into an absurdist neon sign by outlining it with fluorescent tubes. 

Grayson Perry is at it again. The Turner Prize winner, Reith lecturer, sculptor, printmaker, ceramicist, curator, writer, British Museum trustee, CBE, RA – plus Britain's and the art world’s favourite transvestite – is trying to find sense in things and events, or, as he has put it, invent meaning in a meaningless world.