Packing in big names and greener talents, this fledgling photography festival looks set to become a cornerstone of the cultural calendar. Three British staples headline among more than 20 exhibitions. Pioneer of photography-as-art Martin Parr is showing a selection from his Small World series, where perma-tanned global tourists flood beaches like so many ants. These compliment Parr's hero, Tony Ray-Jones's affectionate images of the British working class at play. Richard Billingham's series of his alcoholic father, Ray's a Laugh, brings a sobering dose of gritty social realism, while an impressive array of events, screenings and workshops includes a talk from acclaimed documentarist Caroline Drake, and Samuel Fosso, whose twist on self-portraiture and identity see him dress up as black icons.  St Peter Port, Sat to 30 Jun  Linder's record sleeve for the Buzzcocks single Orgasm Addict was a classic: a nude pneumatic babe with a clothes iron for a head and smiling gnashers for nipples. Thirty-three years on, her Frankenstein's monsters of collaged consumer culture retain their bite. Her latest series fuses magazine cookery pages with retro-looking soft porn imagery: wry collisions of the different fantasies sold to men and women. They highlight a starkly similar displacement of physical wants into capitalist baubles, be that women's bodies, food or fast cars.  Modern Art, W1, to 25 Jun  The religious allusion in the title of Cornelia Parker's Thirty Pieces Of Silver is amplified by its installation in the nave of the converted medieval church of York St Mary's. More than 1,000 silver pieces are arranged into 30 disc-shaped groups. Each found and collected object – candlesticks, cigarette cases, an old trombone – have been flattened by a steam roller and suspended from the church's ceiling so they appear to levitate. While Parker's work might be predictable – she is the artist who squashes things, explodes them, throws them off cliffs – its metaphoric resonance is undeniable. There is something infectiously melancholic in this poetic reflection on the passing of time, the vanities of materialism and the tragic wastage of personal betrayal.  York St Mary's, to 30 Oct  In the past, Liverpudlian video artist Imogen Stidworthy has made work featuring Cilla Black impersonations, criminal gang slang and Romanian street singing. Throughout it all is her interest in language, whether as cultural glue, or through subversive translations. Her latest exhibition is dominated by the incredible but true figure of Sacha Van Loo – a blind linguist, fluent in seven languages, and with an ear finely tuned to hundreds of accents – who analyses wire-tap recordings for the Belgian police. In an installation that uses sound, video and laser scanning, Stidworthy meshes Van Loo's story with elements from Solzhenitsyn's novel In The First Circle. Its account of Stalinist Russia, where imprisoned academics develop technology that jumbles and decodes language, is creepily echoed by police tactics in present-day Antwerp.  Matt's Gallery, E3, to 17 Jul  Subtitled The Aesthetics Of Journalism, this is an insightful look at fact and fiction in contemporary art which borrows from news and documentary reportage. Curated by Alfredo Cramerotti and Simon Sheikh, All That Fits is being shown in what they call three "chapters" – The Speaker, The Image and The Militant – with the central tenet being "Whereas journalism provides a view on the world, as it 'really' is, art often presents a view on the view." Typical of the ambiguities among the work, Eric Baudelaire's The Dreadful Details brings Manet's 1867 painting The Execution Of Maximilian up to date in images that restage atrocities of the Iraq war in what appears suspiciously to be a Hollywood movie set-up.  As part of the Artist Rooms touring project of prize works donated to the nation from the collection of Anthony d'Offay, a small but representative collection of drawings and paintings by the renowned west coast American painter. Ruscha depicts the culturally hot landscape of Hollywood with an aptly cool technical restraint. Los Angeles boulevards, billboards and gas stations are reduced to bold compositions of precisely outlined primary colours more familiar in graphic design than fine art painting. Other works more overtly reveal the always-present underlying sense of alienation that affords Ruscha's paintings a psychological tension missing from the more flashy work of many of his east coast peers.  Wolverhampton Art Gallery, to 29 Oct  It's becoming increasingly common for art to sample, disorientate or mischievously trash neat and proper scenarios of domestic respectability. Jo Lansley + Neeta Madahar present a photographic diptych that uses a bedroom backdrop for evocations of barely suppressed longing. Works by other artists tackle the vulnerability of a domestic or familial sense of security in forms from shantytown sculptures to an account of the last days of a dying grandmother meticulously drawn from mobile phone snapshots.  The International 3, to 17 Jun  An arch yet elusive take on art world anthropology characterises Josephine Pryde's largely photographic work. An earlier series married unsentimental portraits of a baby with song lyrics about the bleak, if hoary, romance of the impoverished artist's life, offsetting creativity, parenthood and art-making in a disquieting mix of temper tantrums and self-validation. For her first UK show in six years, Pryde returns to the theme of reproduction, combining fantasy fertilities with a technologic vision of biological reality. One set of photographs depict teenage girls posing as if pregnant in a perfect stereotype of gendered aspirations, another inserts MRI scans of foetuses in the womb into classic landscape photography, saturated in single colours. The show's title, Embryos And Estate Agents: L' Art de Vivre, sets the teasing tone for how all this might be approached.  Chisenhale Gallery, E3, to 10 Jul  • This article was amended on 1 June 2011. The original said Richard Billingham's series of his alcoholic father is called Let's Talk About Ray. This has been corrected.
Guernsey Photography Festival | Linder | Cornelia Parker | Imogen Stidworthy | All That Fits | Ed Ruscha | House Work | Josephine Pryde