The Sainsbury Centre for Visual Arts, Norwich, 23 April until 29 August
This exhibition at The Sainsbury Centre marks the 50th anniversary of Giacometti’s death, but it also has added significance because of the strong relationship the sculptor had with the couple that founded the institution. Robert and Lisa Sainsbury – who donated their art collection to the University of East Anglia in 1973, leading to the creation of a special building to house and display it – were personal friends of Giacometti and ardent supporters of his work. Today, thanks to them, The Sainsbury Centre boasts one of the largest collections of Giacometti’s work in the country. Giacometti: a Line in the Sand, serves as an important exploration of the defining elements of Giacometti’s practice, and also the strength of his influence on British art in the Post-War period, exemplified by a display of works by Francis Bacon, Frank Auerbach, Henry Moore and Elisabeth Frink RA.

Institute of Contemporary Arts, London, until 19 June
Chinese artist Guan Xiao juxtaposes technological with so-called ‘primitive’ mediums in her work, making truly unique fusions. Exploiting the endless possibilities afforded by installation art, the works in this exhibition include a triptych of videos, large printed screens, and sculpture with audio components. In considering the difficulties associated with exploring the past from the perspective of the present, Guan Xiao exposes the ways that history can be manipulated to suit any given purpose or narrative.

White Cube, Bermondsey, London, 27 April until 2 July
In this exhibition, George Baselitz Hon RA’s hauntingly beautiful works span the entirety of the White Cube’s Bermondsey gallery: large-scale paintings, bronze sculptures and a wide array of works on paper. Honing in on Baselitz’ portraiture and ‘remixing’ technique (where images are repeated and reinterpreted using different mediums), the show underscores the liberal modes of experimentation that characterize the artist’s practice; while works such as Oh, Rosy, oh rosy demonstrate his mastery of paint, which he applied with deceptive carelessness to create hazy, anthropomorphic forms.

Whitechapel Gallery, London, until 14 August
Four displays at The Whitechapel offer visitors a rare opportunity to see some great gems of Modern and Contemporary Arab art, borrowed from the Barjeel Art Foundation. The third in the series, Imperfect Chronology: Mapping the Contemporary I, looks toward the emergence of media-based practices among a generation of artists in the 1990s. In considering the aftermath of war, artists such as Walid Raad and Akram Zaatar draw on both real and fabricated archival sources, whilst Yto Barrada deploys photographs and maps of her native Tangier in contemplating the prospect of a better life for its people.

Eagle Gallery, London, until 14 May
Orpheus Ascending brings together the work of four diverse artists – Stephen Chambers RA, the late Ken Kiff RA, Anne Buchanan Crosby and James Fisher – to consider how myths, proverbs and folk tales have served as a shared and vital source of inspiration to each of them. Buchanan Crosby’s art draws on Greek mythology, Fisher’s primarily from music and literature, whilst Kiff’s subject matter pertains to the poetic. Chambers’ emotive, colourful and naïve art masks his deep art historical knowledge. The flattened-down perspective in his paintings make reference to the years he spent in Rome on a scholarship, studying Sassetta and Pierra della Francesca, whilst their content draws on the proverbs of Bruegel in their depictions of human behaviour. Much like the other works on display, Chamber’s paintings captivate with their rich narratives.