The Tetley, Leeds, until 22 January 2017
“Dasein” is the philosopher Heidegger’s notion of “being in the world”. “Casein” is a protein bio-hack that body builders use to expand the possibilities of their own being. Kate Liston’s video work – part of ‘The Scientific Method’ – melds the two in a bizarre YouTube tutorial that draws connections between processing food in the stomach and ideas in the mouth and mind. Her work is on show with other artists who attempt to reveal, challenge and disrupt the structures and systems of knowledge that employ science as immovable, objective truth. Also on display is colocation, time displacement by Yuri Pattison, in which a video camera roves through an internet data centre housed in an former civil defence complex.

Herald St, London, until 16 December
“Elegant and excremental in equal measure”, says the art critic Brian Dillon of the four sculpted figures at the centre of Matthew Darbyshire’s latest solo show. The sculptures – curiously lightweight, layered human forms – might seem recognisable from last year’s Summer Exhibition, where the artist’s colourful, translucent take on classical statuary greeted visitors in the Academy’s Central Hall. Darbyshire became well-acquainted with the Greek and Roman statues that inform his practice in various manifestations through his three years studying at the Royal Academy Schools. He first encountered Hercules “in the RA Schools corridor, where for three years I’d take fag breaks at his feet and admire those thundering thighs”.

New Art Centre, Salisbury, 19 November – 29 January 2017
Stephen Feeke, Director of the New Art Centre says of Anthony Caro RA’s relationship with his assistants: “he valued their opinions and encouraged their contributions but also wanted to know what they were making for themselves. His studio was remarkable for its sense of community and camaraderie”. Delving into the lives of Caro’s assistants, as well as his studio in Camden, his archives, and his body of work, this exhibition explores questions of originality, collaboration and education through one artist’s mode of production. Caro’s sculptures are displayed alongside work by five of his assistants from various stages in his career, who are all contextualised as artists in their own rights.

BALTIC, Gateshead, until 26 February 2017
The critic Jane Harris, writing in Artforum some years ago, described Italian artist Monica Bonvicini as “something of a heckler”, who is “taking aim at the granddaddy of all aesthetic boys clubs: architecture”. Through sculpture, installation, video, photography, text, performance and drawing, Bonvicini interrupts established ideas about buildings, control, space, gender and sexuality. Though her works are often architectural in form and scale, in the artist’s own words: “The good thing about being an artist is that you cannot hurt anybody; if the work is bad, you may add some stupidity to the general pre-existing stupidity (which is already bad enough). But architects, as we all know, can do damage that has a much longer life…”.

Jewish Museum, London, until 26 February 2017
“The local manufacturers were producing dainty tea sets with festoons of flowers, and her stuff was very, very different”, says Stoke’s Potteries Museum curator Miranda Goodby of the artist Margarete Heymann, who settled in the “dirty, smoggy, noisy” town after fleeing Nazi oppression. Heymann had been part of the Bauhaus school in Germany, as well as founding a successful ceramics business herself, but her practice has been isolated and undervalued in much of art history. This exhibition explores the overlooked stories and artwork of Jewish immigrants such as Heymann – as well as Lucie Rie, Ruth Duckworth and others – who brought central European modernist ideas to Britain, and whose legacies can be seen in various post-war ceramicists.

The Jewish Museum is offering Friends of the RA 2-for-1 tickets to the exhibition when they book in person and show their Friends membership card.