The term “snow day” may have been coined with the most recent spate of cold winters in mind, encapsulating the modern-day, not to mention British, consequences of winter weather, but Hendrick Avercamp’s Seventeenth-century “snow day”, painted in around 1615, is a hearty reminder that nothing changes. And just as today we tend to fall into two camps, those determined to enjoy the weather and those irritated by the disruption, Avercamp’s scene on a frozen Dutch river depicts all types, ages and temperaments.

In 1997 I was in South Africa working on Truth and Lies, my book about the Truth and Reconciliation Commission, when the New York Times Magazine said that they were doing a major feature on Mandela. He’d been in office for three years. The photographs were taken in the presidential house, the former seat of the oppressors. It felt very surreal for me because even the décor was Cape Dutch furniture. It was not what you might imagine for a black president.

According to one broadsheet, Laure Prouvost was a “rank outsider” and the money was on comic doodler David Shrigley and the elusive Tino Seghal, he of those ghastly, utterly patronising performances designed to jolt the guileless gallery-goer from his or her imagined complacence.

Her narratives are ambiguous, layered, unreliable, fragmented

When it comes to a blank page, artists and poets lead different kinds of lives and leave different kinds of marks. One for the eye, one for the ear, but both dependant on the thrill of recognition. The word, like paint, can be worked and reworked until the delight of a new image, a fresh metaphor in its right setting rings from the twisted garbage of lines in a notebook.

Those French and their grand projects! Not the least of them is the division of the country into 23 areas who acquire their own collections of international contemporary art, supplemented by a national loan collection, all under the rubric of FRAC, Fondation Régionale d’Art Contemporain. This 30-year programme has just opened a massive six-storey gallery as a brand new public face for the regional collection of the Nord-pas-de-Calais in the slightly forlorn city of Dunkirk. Supported by FRAC, it has so far amassed some 1,500 works of contemporary art, French and international.

All eyes were on the Rijksmuseum when it re-opened in April after a 10-year refurbishment, but across the Museumplein, Amsterdam's gallery of contemporary and modern art, the Stedelijk, was already settling into its new look, unveiled six months before. With its world-beating collection and extended galleries, it is already an attractive destination, but a remarkable exhibition of the art of Kazimir Malevich and his contemporaries makes the Stedelijk reason enough to hop to Amsterdam right now.

On 22 November 1963 President John F Kennedy was shot, yoking his name to an ex-marine and sometime defector to the USSR called Lee Harvey Oswald. Everyone old enough to remember is said to know where they were when they heard. As America dealt with its trauma, the conspiracy theories started,and spawned well over 1,000 books. The assassination also became the focus for artists in all art forms - in literature, theatre, film and even music. The latest is the movie Parkland, out this week, which reconstructs events in Dallas while steering clear of the main event.

The trumpeting of a lone elephant can be heard all around Durham city centre, blasting across the River Wear. The organisers of Artichoke’s Lumiere Festival, now in its third biennial year, have been turning up the volume as the evening’s progressed. The 3D elephant, which is the work of French design group Top’là, is a magnificent optical illusion projected onto a replica medieval fortress arch on Elvet Bridge, complete with thunderous audio.

I've known rock photographer Tom Sheehan since we worked together at the Melody Maker in the 1980s, but even I didn't know that his stellar career stretches back "almost 40 years", or so it says in the programme notes for his new exhibition, Analogue, at the Lomography Gallery Store East in Spitalfields. Anyway, anyone who's ever been anyone in the great pop and rock malarky has been memorably photographed by Sheehan (or "painted with light," as he might facetiously put it).

Sir Anthony Caro, who died on Wednesday of a heart attack aged 89, was an artist who remained not only active but inventive to the last. In the past year alone he had three major exhibitions: a distilled retrospective at the Museo Correr in Venice (until 27 October), an exhilarating outdoor exhibition of mega-scale sculptures spanning four decades at Chatsworth House, Derbyshire, as well as recent work at the Gagosian gallery in London, the last a series of huge working models planned for an even bigger public art project that would have proceeded down New York’s Park Avenue.