Luke Fowler won the inaugural Jarman Award in 2008, at thirty years old, and he had a solo show at Serpentine Gallery the following year.  The Guardian raved about his work at the time, calling these works "two of the most fascinating films of recent years."  He is currently the ICA's resident artist, and tomorrow night they screen Fowler's works A Grammar for Listening (Parts 1, 2 and 3).

These films were made in collaboration with artists Lee Paterson, Eric La Casa and Toshiya Tsunoda.  They take as their starting point the historical attempt to locate and classify noise, music and commonplace sounds.  What is the relationship between sound and vision?

In a throwback to sixties' conceptualism, Fowler purges the allusive or manipulative context of sound in relation to the filmed moving image.  With these works, Fowler is commenting as much on the unique grammar of imagery as much as he is the space which sound inhabits.  These are real foundational, vital ideas about how sound functions and how we react to and navigate through it.  These are all quite conceptual terms but, trust me, these are very engaging films and a great way to start a Saturday night in the West End.

Artists' Film Club: A Grammar for Listening (Parts 1, 2 and 3) by Luke Fowler is at the ICA tomorrow, 21 July.

There's a surprising amount of photography created by female artists in the 1980s and early 1990s that is sad, tender, and that paints a metaphorical portrait of loneliness in women in the latter part of the twentieth century.  Jo Spence died of breast cancer in 1992.  Many of her works were self portraits that depicted her struggle with the illness.  Following Part I, Studio Voltaire present Jo Spence: Work II, and a reengagement with her pictures.

It is often said of Jo Spence that her work is not technically finessed.  It is a bit rough around the edges, and a light version of the role playing work of artists like Cindy Sherman.  Similar to Sherman and the great photographers of the period, Spence's work crosses a number of boundaries.  She was an activist first and foremost.  Her pictures represent the struggle to project her own voice.  Creating the pictures themselves was the struggle to find her own voice.  This is a body of work that asks whether it is right or wrong to allow a woman to speak for herself, without mediation - be it the NHS, be it social convention.  The answer to this question is straightforward; the act is far more intricate than you may have ever realised.

Jo Spence: Work (Part II) is at Studio Voltaire until 11 August.

Well, there was a time (some years ago) when it was envisioned that the construction of Tate Modern Two (as it was known then) would be well underway by now.  Then came the credit crunch, then it came again (and again), and fundraising for the project dwindled.  On the plus side, since the ICA made the terrible decision to cut all dedicated exhibition of live art, Tate Modern can now proudly open and display The Tanks.  'Grand architectural gestures' are the giant disused oil tanks in the basement of the grand museum.  This is a significant step in the development of the new location (even if it still looks like a threadbare construction site - it will for the next four years).

The Tanks opened last night with a fifteen week programme that includes new work by artists including Anne Teresa De Keersmaeker, Sung Hwan Kim and Eddie Peake.  In an interview with The Guardian, Chris Dercon, Director of Tate Modern (who, by the way, if this whole construction goes off without a hitch will be one of the most important people in the history of twenty-first century art) says that the desire for live encounters was partly a reaction to the economic climate, "Performance proposes a new form of interconnectivity," he says.  Also, Catherine Wood, Tate's curator of contemporary art and performance, tells of a desire for artists to remove themselves from the dominance of art and commerce.  These are all very valid points, and begin to make sophisticated justified arguments for the existence of The Tanks (£90 million from a total projected budget of £215 million).  As an English person, I'm proud of Tate Modern.  It is one of the most forward thinking museums in the world.  In its twelve years, it has become of the most important sites of world art, and The Tanks will only serve to further reinforce this.

Art in Action at The Tanks, Tate Modern runs until 28 October.