Three little gems

A trio of new exhibitions.

Terra, Grizedale Forest, from 11 February
In 1968, as the land art movement took off in the US, the Forestry Commission established the Grizedale Society to encourage the arts. Soon, the Lake District forest was home to works by David Nash, Robert Koenig and Andy Goldsworthy and there are now some 60 works in the forest, taking the walker by surprise as they spot an elephant hewn out of rock ("Between Elephants", Iraida Cano, 1995) or chance upon a family of deer ("Stag Herd Roof", Andy Frost, 1993). This month, a new collection will join these long-time residents. Exhibited first at the Jerwood Space in London, they include Luke Jerram's "Tohoku Earthquake", a work on the seismographic data from the Japan earthquake, and Jonathan Anderson's "Dark Star", a huge, blackened explosion of a sculpture, made using coal dust. Worth a trip into the trees.

Church of the Holy Sepulchre, British Museum, from 2 February
If you've been to the Church of the Holy Sepulchre in Jerusalem, you'll know the frenzy that envelops one of the holiest places on earth. Supposedly the site of Jesus's crucifixion and burial, it is today a place of pilgrimage - packed with tour guides and queues. So the chance to see an architectural scale model in the British Museum is enticing - you might see the thing, rather than spending your visit avoiding a clunk to the head by a camera. The model was made in Bethlehem, probably in the late 17th century, from olive and pistachio wood. It would have been sold as a high-end souvenir (it is inlaid with mother-of-pearl) and can be taken apart to reveal the detail within. And most importantly, this can all be done in peace.

Zoe Leonard, Observation Point, Camden Arts Centre, from 31 March
The first rule of photography - don't shoot into the sun - is upturned in New York artist, Zoe Leonard's new show. One room will be filled with photographs of the sun, another transformed into a "camera obscura", filtering daylight through a lens to project images on to the floor, walls and ceiling. You shouldn't stare at the sun, but you can admire the artist's version.

Sophie Elmhirst is features editor of the New Statesman

This article first appeared in the 13 February 2012 issue of the New Statesman, Boris vs Ken