There would have been a time when the mere mention of a Chinese artist would have been the precursor to a great shout of 'Who?'  Ai Weiwei changed that.  It is doubtful that there has been a more famous artist in the world ever since the opening of the 2008 Beijing Olympics and the world saw his instantly iconic (co-designed with Swiss architects Herzog & de Meuron) National Stadium, also known as the Bird's Nest.  Since then, a whirlwind biography records a Turbine Hall commission at Tate Modern in 2010 and the hand painting of some one hundred million sunflower seeds and a series of detentions by the Chinese government.

Despite his high profile media presence over the past four years, this is an interesting film.  Director Alison Klayman is sensitive to the artist, who needs no sensitivity given.  He is strong, controversial and uncompromising.  The film follows Ai as he seeks legal action from an assault on him by the Chinese police, as well as documenting his preparation for the Sao Paolo Biennial and his Tate Modern commission.  We see his home life, and his relationship with his mother and son.

I was hesitant to see this film, feeling a little overkill from the attention that this man gets.  In an interesting response, a sub-theme involves Ai's communication and self-promotion as an important tool for planning his projects and gaining recognition for the harsh repression of civil liberties in China currently.  And this too is a purpose of the film.  And if only for that reason, it is well worth your time.

Ai Weiwei: Never Sorry is on limited release.

Photography exhibitions focussing on images of London have been dime a dozen in recent months.  Notably, on these pages, regular readers would have seen write-ups on shows from The Fitzrovia Photography Prize at Diemar/Noble to Ian Barry's shots of East London in the 1970s at Whitechapel Gallery's This is Whitechapel.  Tate Britain get in on the action now, with their show Another London.  The concept: this is London between the years of 1930 and 1980, as seen through the lens of international photographers.

This large-scale exhibition collects images from some of the world's most well known photographers, personalities who have shaped the way we look at pictures today.  Henri Cartier-Bresson, Bill Brandt, Eve Arnold, Dora Maar, Irving Penn, Robert Frank, and many more.  This is high quality work by artists whose work is instantly evocative and instantly recognisable.

It is not perfect, admittedly.  For example, it is not clear as to why the selection of photographs spans only this mid-century fifty year period.  It was a period of much change for the city: a world war, teddy boys, rock'n'roll and redevelopment, the swinging sixties, punk and the foreshadowing of Thatcherist consumerism.  We do not want for lack of content, and in the end the rationale does not particularly matter.  Ours is a city of great diversity.  It is a city of great welcome, and this is what this exhibition celebrates.  The London as seen by those people who have made it what it is today: migrants, immigrants, itinerant workers and internationals.  Sure, it's a loving lens, but we've all a reason to be proud of this, one of the world's great cities.

Another London is at Tate Britain until 16 September.

I'd love - genuinely love - for a specific form of curatorial vocabulary to be wiped from the language.  Take, for example, Pavilion by Gabriel Birch and Sophie Yetton.  The project is interesting.  It has travelled to venues including Arnolfini, Bristol; Artangel's The Museum of Non Participation, by Karen Mirza and Brad Butler, and has been used in collaboration with artists including Dave Charlesworth and Joceline Howe.  In 2011, Pavilion won the Barnet Collaborative Commission from Emerge, the London-based public visual art initiative.

Pavilion "intends to reframe the space of exhibition through interventions that call into question the relationships between viewer, art work and gallery architecture.  Auditorium is a proposal for an alternative display mechanism for artist film."  Admittedly, this makes sense - in a fatuous visual artistic way - but it feels to imposing a justification for what is a very good project.

Comprising work by Mirza & Butler, Thomas Lock, Richard Whitby, Linda Persson, Helene Kazan and Mary Hurrell (who has made a new work specifically for Auditorium), exploring the space in which we watch films today is a very relevant and timely concern.  Particularly in terms of new media shifts and the convergence of artists' film and feature film production.  It reminds me of the now-defunct BFI Gallery, wherein its interior was dramatically redesigned for every new exhibition.  It felt - and looked - like a brand new space each time.  Pavilion is an ongoing project, and what is interesting further is that it remains full of potential.  It is a very good question that Birch and Yetton are asking.  I just wish they'd change how they say it.

Auditorium opens tomorrow at CGP Dilston Grove, and runs until 26 August.