The former Museum of Mankind, just behind the Royal Academy, has been the temporary home of the Haunch of Venison gallery for some two years. They’re moving back to their original home next spring, and though the newly extended building (Lord Nelson’s former residence at Haunch of Venison Yard, near Old Bond Street) is big and rather grand, the former museum is even bigger and grander. With neither longevity nor reputation to rely on, it’s a tough space for any young artist to fill. Still, if you think Portuguese artist Joana Vasconcelos might be better served in a tighter space, her first UK exhibition certainly proves her an artist worth looking out for.

Two recently decommissioned fighter jets are in the incongruous setting of Tate Britain's Duveen Galleries. One plane, polished to a mirror sheen, lies belly-up, like an injured animal; the other hangs suspended from the ceiling, its matt surface stripped of its combat colours and stripes, painted instead with faint feather markings, bringing to mind a giant, trussed-up bird. Its stilled presence is both powerfully majestic and inert.

One can hardly imagine the spiky dervish Grace Jones sitting still for a second, let alone remaining motionless long enough to have photographs (and plenty of them) taken for her portrait. Nevertheless, Chris Levine has managed to pin her down - in a manner of speaking. Levine's exhibition at the Vinyl Factory - Stillness at the Speed of Light - captures the performance artist's restless activity in a very clever way: several of his portraits are in fact lenticular 3D portraits - holograms.