Rosemary, heather and hops. These are just a few of the ingredients included in a special blend of herbal tea created by artist, Dineo Seshee Raisibe Bopape. Subtle yet deep in flavour, the amber coloured tea has a calming, if not soporific and dream-inducing effect. Picked by Bopape on the Frantsila herb farm in Hämeenkyrö, Finland, the tea was then packaged and delivered to the Museum of Contemporary Art Kiasma in Helsinki, and there partly incorporated into the artist’s current exhibition.

To take a trip into the world of Issy Wood is to be embraced by paradox. A richness of imagery that can at time shock with its blandness and at others seduce with a sense of wonder; a perfectly accomplished surface that reveals, with familiarity, a labyrinth of unexpected depth and sensuality; a confrontation with the glitz of hyper-reality that’s constantly playing with the illusory nature of all images; collections of apparent trivia bathed in an aura of mystery.

The vast and various spaces of Frank Gehry’s monumental Fondation Louis Vuitton in Paris suit the needs of the thrilling Mark Rothko exhibition now inhabiting its labyrinthine multi-storey suite of galleries.

The soundtrack to Tate Britain’s seminal exhibition Women in Revolt! is a prolonged scream. On film, Gina Birch of the punk band The Raincoats gives vent to her pent-up anger and frustration by yelling at the top of her lungs for 3 minutes (main picture). And in many ways, this whole exhibition is a scream of rage.

The introductory panel to Tate Modern's exhibition of photography, film and installation contains some stark facts that remind us of the history informing the work of these 36 African artists. Some 10 million Africans were sold into slavery and by 1914, 90 per cent of this vast continent was under colonial rule (a third of it British), which one could describe as a lesser form of enslavement.

The enormous volume of Tate Modern’s Turbine Hall has overwhelmed many of those invited to exhibit there, but Ghanaian artist El Anatsui responded to the challenge with magnificent hangings that tame the huge, industrial space.

RE/SISTERS is a show about the brave women who’ve been fighting to protect our planet and the artists whose work – mainly in film and photography – is, in itself, a form of protest. The opening section, Extractive Economics demonstrates the problem – companies trashing the planet for profit, regardless of the cost to people and the environment.

A polar bear stands guard over the seal pup it has just killed (main picture). How could photographer, Hiroshi Sugimoto have got so close to a wild animal at such a dangerous moment? Even if he had a powerful telephoto lens, he’d be risking life and limb. And what a perfect shot! Every hair on the bear’s body is crystal clear; in fact, it looks as if her fur has just been washed and brushed.

It’s incredible to think that the Turner Prize has been going for nearly 40 years. It was initially set up to generate interest in contemporary art by sparking debate. Not surprisingly, the media took this as an invitation to stir up controversy by focusing on work they considered shocking and this, in turn, encouraged artists to be provocative.