The latest artist to feature as part of Zabludowicz Collection's monthly solo presentation of emerging UK talent, Hannah Perry, follows up her recent show at Cell Projects with Wonderful While It Lasts. It marks the artist's first foray into two-dimensional mixed media, anchored by the familiar video installation format. Film is filtered through coloured acrylic, printed photographs and tabloid headlines, with the aim of extracting the moving image from its frame via an immersive cinematic environment.

The video itself, projected and beamed from monitors, fuses YouTube footage, news broadcasts and family recordings into a portrait of British youth and national identity, edited to samples of house music and distorted audio clips. What manifests is a vision both personal and universal, structured around theoretical excerpts from Slavoj Žižek, found statements, and Perry's own affirmations - these add thematic direction and serve to delineate the film's constituent moments. Cohesion is achieved by feeding digital footage through VHS mixers to arrive at a consistently glitchy whole; hypnotic loops are punctuated by jarring audio visual breaks, which quite literally navigate the textures and rhythms of adolescent experience.

The scratchy, grainy imperfection of Perry's work naturally lends itself to improvisation; found imagery and sound accrue new layers as they are re-sampled. The artist's recent presentation at Zabludowicz, Erotic Discourse, essentially constituted an edit of her installation, transposing its sound and visuals to live performance. A typical rhythmic structure was articulated by the performers' footsteps, providing an ostinato to offset the live drums, audio samples and projected flashes of light.

A visceral testament to the potential of youth, and witness to a destructiveness that accompanies limitless possibility, Wonderful While It Lasts plays out on screen as a kind of nihilistic burn-out into adulthood. Perry captures a point of conflict, the moment before youthful optimism yields to adult realism. This ambivalence translates into a sense of dislocation, an attempt on the part of the artist to reconcile or perhaps highlight the gulf between her own childhood and adult life.

Zabludowicz Collection Invites: Hannah Perry is on at Zabludowicz Collection until 01 April.

Julie Hrischeva

When Hauser & Wirth opened their Savile Row gallery in Autumn 2010, it was a statement of bravado and intent; becoming the largest commercial gallery space in London, right in the middle of an economic downturn. How have they fared? In comparison to most other commercial galleries, Hauser & Wirth have had a consistently successful recession, and in fact were only able to move into the space because it suddenly came onto the market. The gallery take a canny and sophisticated approach to display and sales of contemporary art, this is to some degree evident in their current exhibition programme. Tomorrow, Because's Culture section will look at the show of work by Dutch-born, London-based fine artist Michael Raedecker which is currently on display in their North gallery, and today, the exhibition of work in their South gallery: Visions, Waves and Roads by Mary Heillmann.

This certainly hasn't been the most well-reviewed show in London at the moment, but your Culture section has to admit to being a big fan of the American post-pop painter, and while this show doesn't reach the heights of her best work it is certainly manages to engage, strike and comfort an audience. Constructed, misshapen canvasses, painted in vibrant, largely primary colours adorn an abstracted, minimalist personal space. Heilmann fabricates angled coffee tables, tea sets, chairs and dinner plates and wall-based ornaments.

What Heilmann prepares are a series of twentieth century concepts made manifest for a modern-day audience. Blocky, geometric and bordering on the fashionable; the show mightn't be the most original that you'll see all year, but it has the ability to dig deep into your desires about where the intersection of art, design and function may meet. It's a fun-filled West Coast sensibility that will take you places.

Mary Heilmann: Visions, Waves and Roads is at Hauser & Wirth until 05 April.

Your daily Because Culture section will support any most civil liberty awareness event that comes our way (patronising though many of them may seem). Today, marking International Women's Day, we are delighted that our fair city can celebrate and realise an exhibition of that bastion of womanhood, that master sculptor and icon of everlasting feminism: Louise Bourgeois. In a display of work installed at The Freud Museum, The Return of the Repressed takes a number of the artist's works and sites them in the London house of the originator of psychoanalysis, the Hampstead retreat of his escape from Nazi-era Europe.

Enjoying the delicious juxtaposition of the work of Bourgeois alongside the history of Freud (whose views of the female gender were clinical - at best), we are overjoyed that there is another show of the artist's work in the city. Too many artists these days are tarred with the brush of a presumed greatness, when actually there were only a small handful in the twentieth century who created work that can be defined as such. Bourgeois is one of these artists, a maker whose work contains a legacy in their very fabrication.

Maman, a series of works of gigantic spiders, bodies hovering upto thirty feet in the air, gets another public viewing here. This symbol of grace, delicateness and uncanny fear dominates proceedings (as it always does when exhibited within a Bourgeois display). Finding yourself comforted under the all-encompassing maternal embrace, a spawn among millions, Maman is a statement, a herald and an ideology made manifest. If you've not experienced it before, it's a work of true magnificence.

Louise Bourgeois: The Return of the Repressed is at The Freud Museum until 27 May.