From rarities of the Flemish Renaissance to a resurgent New York market, we mark your diary with the key things to buy and see.
Guillaume Houzé, scion of the Moulin dynasty that owns the Galeries Lafayette department stores, is behind a new Parisian art space, Lafayette Anticipations. The opening installation will fill the five-storey building in the Marais with work by veteran multimedia artist Lutz Bacher. Rem Koolhaas has deconstructed the 19th century industrial space to create galleries and a large workshop.
Canadian artist Jon Rafman’s latest work takes the setting of the ica Boston as its starting point. Visitors put on virtual reality headsets before being plunged down into the apocalyptic scenario of an extraordinary other world.
Keith Haring, The Alphabet, Albertina, Vienna, 16 March to 24 June; Jean-Michel Basquiat, Fondation Louis Vuitton, Paris, 3 October to 14 January 2019; Julian Schnabel, Legion of Honor, San Francisco, 21 April to 5 August; Schnabel by Schnabel, Aros, Aarhus, 13 October to 3 March 2019.
Museums have caught up with 1980s revivalism; shows in Europe and America are bringing brash art and bullish egos to a new generation. The fun starts in the US capital with Brand New, a show of the big names of the era, including Richard Prince, Barbara Kruger and Jeff Koons.
The Getty Villa’s design was inspired by Herculaneum’s Villa dei Papiri, a first-century Roman home submerged by lava from Vesuvius. Cinema-goers may be more familiar with the villa from its cameo in All the Money in the World, the Ridley Scott film on the amorality of billionaire John Paul Getty. Next month, the museum completes a redisplay of its Greek and Roman collections.
Fresh from its first foray onto African soil, the 1:54 art fair opens its fourth edition at the Pioneer Works in Brooklyn in May. Interest in contemporary African artists has been growing rapidly since Angolan artist Edson Chagas and Ghanaian El Anatsui won Golden Lions at the Venice Biennale in 2013 and 2015 respectively.
The art market ended 2017 cheerfully, after much better results than 2016. These were boosted by the startling $450m in November for Leonardo da Vinci’s Salvator Mundi (it had sold less than five years ago for $127.5m). Georgina Adam, an art market expert, believes it is not a blip. “The sale reset the clock,” she says. “The US stock exchange is riding high, while tax reforms mean US firms are repatriating large amounts of cash. There will be a lot of money to spend.” The biggest test will be the sale of the collection of David Rockefeller, who died last year.
The Royal Academy celebrates its foundation in 1768 with a £50m refurbishment designed by David Chipperfield. The most noticeable change will be spaces linking the original Burlington House to Burlington Gardens and opening up the art school. Space has been under pressure for years, thanks to a series of blockbuster exhibitions. Charles Saumarez Smith, the RA’s chief executive, describes it as a “psychological as well as physical change” to the institution.
With its love of ideas not bricks and mortar, the Venice Architecture Biennale has become a fixture on the art world’s agenda. The curators this time are the Dublin-based architects Yvonne Farrell and Shelley McNamara, co-founders of Grafton Architects. The Vatican, which had presentations at the art biennale in 2013 and 2015, will take part for the first time, with 10 famous architects creating chapels around the island.
Last year was the art world’s once-a-decade stocktake, thanks to the coincidence of the Venice Biennale, Documenta and Skulptur Projekte Münster. This year, it’s the turn of smaller-scale events. Manifesta and the Berlin Biennial have yet to reveal an artists’ list, but expect a politically charged offering from a young international team headed by South African curator Gabi Ngcobo.
Little more than 40 of Breugel’s paintings survive; the museum’s 12 panels will be joined by loans from around the world. The museum describes the exhibition as a “once in a lifetime” show, and given the rarity of the works, they are probably right.
Tate Modern director Frances Morris has made no secret of her determination to unearth under-regarded female modernists but it is still surprising that this is the first UK show of Anni Albers most famous mid-century textile artist.
The Schaulager promises a complete retrospective of the 76-year-old artist, from his photographs and performance videos of the 1960s to his later neons and installations.
Donna De Salvo, chief curator of the Whitney, is organising the biggest survey of Warhol’s work for 30 years (the last one in New York was in 1989). While details are still sketchy it will, of course, include the key prints from the 1960s, as well as works up to his untimely death in 1987.
Naples has an increasingly dynamic contemporary art scene, one of the reasons that has persuaded London’s Thomas Dane gallery to open a gallery in a palazzo overlooking the Bay of Naples. François Chantala, a partner at Thomas Dane, says the city has been on the art world since the dealer Lucio Amelio opened in the city in the 1960s, bringing artists like Robert Rauschenberg and Cy Twombly to Europe. “Naples is irresistible for artists,” says Chantala.