Dalí, Duchamp, Basquiat and beards: the best art in the fall of 2017

Jean-Michel Basquiat

The metro invaded the art gallery in the 1980s in New York. Basquiat, who died in 1988, 27 years of age, crystallized this time, which incorporates a new youthful attitude that helped make the art what it is today. He left behind a legacy of fish, and cut out paintings that punch themselves in his mind. His angry style electric seems even more relevant now that it did then.

September 21-28 Of January, The Barbican Art Gallery, London.

Pablo Bronstein

The Argentinian artist presents 50 new sketches of the buildings from the second half of the 20th century, alongside rarely seen historical material to examine “the long reign of pseudo-Georgian architecture” as a force in the shaping of the British vernacular.

September 21-February 11, RIBA, London.

To deceive the House, 1961-62, of Jasper Johns. Photo: Jasper Johns / VAGA, New York / DACS, London 2017

Jasper Johns: Something Close To The Truth

Almost every one of the trends in the 21st century of art dates back to the things Jasper Johns did in the 1950s. American pop art can be dated from the moment that she began to paint a flag with stars and stripes on collage of news stories in 1954. The minimalism starts there too, or maybe its the monochrome version of 1955. As for body art, was sown by his strange molds of the mouth and nostrils, in 1955. That is going on. As in the dreams, their creations can be extremely construed without ever yielding up their secrets. A single work of Jasper Johns can hit like a truck with its depth, so that this large retrospective can be almost unbearable in the force and poetic power.

23 September-10 December, The Royal Academy Of London.

Turner prize-2017

Somehow, the Turner prize survived the sensational of the decade of 1990, and renews itself by finding a new purpose. Your maturity is said loud and clear by the inclusion of two of the artists from more than 50 in this year’s list: Lubaina Himid was born in 1954; Hurvin Anderson in 1965. It has fallen out of the barrier imposed in the days of the Young British Art: good for them. Also shortlisted are Andrea Büttner and Rosalind Nashashibi in what may prove a vintage year.

26 September-7 January, Ferens Art Gallery, Hull.

Lego House

The Danish architect Bjarke Ingels’ BIG practice has created a brick in the form of a fun palace of the world’s most popular toymaker, where visitors can get creative in blue, red, green, and yellow “experience zones”, see what the master builders in your gallery, then chill out with a Brickaccino coffee.

September 28, Billund, Denmark.

Opera: Passion, Power and Politics

Power play … Philip Glass-Einstein on the Beach in Los Angeles, 2013. Photo: Lawrence K Ho/Victoria and Albert Museum

The roots of the opera back to Renaissance Italy, where fantastic court shows designed by the likes of Leonardo da Vinci mixed with melancholy love songs to create a new art of the myth and the passion. In 1607, Monteverdi’s L’orfeo gave the opera’s dramatic and musical. This exhibition traces the history of an art form that has been singularly interwtined with the policy of modern Europe, from the operas of Verdi energy, and the release of the controversial impact of Wagner in Germany. The paintings of Degas, Manet and more feature, next to the relics in a show that will surely be sumptuous.

30 September-25 February, V&A In London.

The detail of the Paradise, 2014 by Waqas Khan. Photo: Courtesy of the Gallery Sabrina Amrani and the artist

Waqas Khan

The visionary art of Waqas Khan has the power to raise a poetic paradise of bright lines in the cosmic space. He is a true original, whose large, abstract drawings are as intricate as the structure of a leaf, as alive as the water, as absorbing as a book. Lives and works in Lahore and in this, his first solo exhibition in a gallery in British, it is an unprecedented opportunity to explore the art of magic in depth.

30 September-28 February Manchester Art Gallery.

Reflections: Van Eyck and the pre-raphaelites

The first 15-century Flemish artist Jan van Eyck painted with eye-fooling and complex skill is rumoured to be an alchemist. The Portrait of the Arnolfini, a painting of an Italian merchant couple standing with a strange formality in her bedroom of Bruges while Van Eyck himself reflected in a convex mirror on the back of the room, is without a doubt the strangest and most miraculous work of all. This exhibition explores the moment of impact that caused in British art, when it was acquired by the National Gallery in 1842.

October 2-April 2, The National Gallery, London.


Free beer! Well, maybe not this time, but one of the revolutionaries of the projects created by this Danish art collective was an “open source” the beer that subvert capitalism by the spread of the culture of the internet in the material world. Expect something similar to bold and radical when taken over the vast space of the Turbine Hall. Superflex was founded by Danish artists Jakob Fenger, Bjørnstjerne Christiansen and Rasmus Nielsen, but works with a change of army specialists in projects called “Tools”, because they are intended to be useful. Ideas poured freely, even if the beer is not.

3 October-2 April, The Tate Modern, London.

All At Once

MIG 29 Soviet Fighter Plane and Clouds, 2005, by Cory Arcangel, in a show All At the same Time. Photo: Jack Hems Courtesy Of The Lisson Gallery

This all-star of the show at the spectacular brutalist architecture of the Store of Studies is one of the 50 anniversary of the celebration of one of London, the main shopping center galleries. Founded in 1967, in the heyday of the conceptual art movement, the Lisson Gallery has maintained its reflective approach with surprising success in the era of pop conceptualism. The participants range from the unpredictable ingenuity of Ryan Gander to video pioneer Susan Hiller and epic walker, Richard Long.

5 October-10 December, 180 The Strand, London.


Lobster Telephone (red), 1938, by Salvador Dalí and Edward James. Photo: Edward James, of the Foundation Fundació Gala-Salvador Dalí, DACS 2017

Two artists who were obsessed with sex are brought together to create what will surely fall kinkiest show. Marcel Duchamp (1887-1968) and Salvador Dalí (1904-89) both gloried in wickedness. Duchamp said that the eroticism was at the heart of their work and it showed with his final installation, Étant donnés (“Having been given”), which allows visitors to look through a peephole in a pornographic sculpture. As for Dalí, where to start? His paintings include The Great Masturbator (1929), whose title is self-explanatory, and their confessions of depravity even surprised his surrealist comrades. This is a marriage made in arts heaven: the genius of Duchamp must shine a light on Dalí’s deconstructions of the aesthetic beauty, while Dalí evil you free Duchamp of the academic theorists who have prisoner.

7 October-3 January, The Royal Academy Of London.

Arp: The Poetry of the Forms

Hommage à Rodin, 1938, by Jean Arp. Photo: Ken Adlard/Private Collection, London

In the age of Brexit, an exhibition of this sculptor that transcended the borders of Europe is a timely reminder of how art can challenge national borders. Arp (1886-1966) calls itself, either Hans or Jean depending on whether he was talking in German or French. He came from the disputed region of Alsace-Lorraine, so it was a moot point. In the first world war, he escaped to the neutral polyglot Swiss city of Zurich, where he helped to found the dada. His never-ending playful abstract creations are just as liberated as a man.

October 13-14 January, Turner Contemporary, Margate.

Rebecca Warren: All That Heaven Allows

The imaginative, sensual and fun of the sculpture by Rebecca Warren is one of the joys of modern British art. It is incredible that she has never won the Turner prize (he was runner-up in 2006). Then again, perhaps an artist whose most famous work, Helmut Crumb, combines the styles of two of the most sexist artists will always strike some people as the lack of radical seriousness. Which is a shame because Warren has helped put in sculpture, as opposed to readymade objects – back in the mainstream of contemporary art.

14 October-7 January, The Tate St Ives.

Ilya and Emilia Kabakov: Not Everyone is going to Be Taken In the Future

Of all the exhibitions that have marked this year’s centenary of the October Revolution, this is the most exciting. Ilya Kabakov is one of the greatest artists produced by the Soviet Union – and one of the most subversive. In the decade of 1980, left the USSR and began working with his niece Emilia in facilities such as labyrinth, as a Russian Orthodox church and so rich in its storytelling as a Dostoevksy novel. What’s it like to live in utopia? And what happens when things go wrong? Find in these poetic reveries in the strange story of the world’s first communist state.

October 18-28, January, The Tate Modern, London.

Soutine Portraits

The Young Pastry Maker by Chaïm Soutine. Photograph: Alamy Stock Photo

Chaïm Soutine painted with savage expressionism in a Paris dominated by the abstract art. He was born near the city of Minsk, came to the French capital of modernity in 1913, but instead of embracing cubism or any other art of fashion, it painted a compassionate, almost infantile portraits of the workers in the hotels and kitchens in art deco style of the age. Soutine went into hiding to avoid being captured by the Nazis, but did poorly in the race and died in 1943. The paintings in this show demonstrate that it is one of the most human of visionaries of modern art.

October 19-21 January, Courtauld Gallery, London.

Snapshot Stories: Wim Wenders’ Polaroids

For a long time, the film director and photographer wim Wenders took Polaroids as a day-to-day visual notebook and a journal. Quick images of passing moments filled with intense Polaroid color, these photographs, taken in the 1970’s and 80 record of what your world looked like in the years when I was working on films like The American Friend (1977) and Wings of Desire (1987). It is a nostalgic trip into a lost visual world.

20 October-11 February, The Photographers’ Gallery, London.

Susan Philipsz

The explorers of the chain in the endless emptiness of outer space are the stars of the 2010 Turner prize winner’s new work, which is based on the Karl-Birger Blomdahl’s 1959 science-fiction opera Aniara. The situation of these aspiring settlers of Mars is heard in one of 12 speakers of the installation of the artist with a little bit of an ear for the melancholy emotional resonance and sculptural solidity of sound. The exhibit also includes tributes to Bowie from his catalog and the socialist anthem the International.

20 October-4 March, The Baltic, Gateshead.

Madame Cézanne in a Yellow Chair, 1888/90, Paul Cézanne. Photo: The Art Institute of Chicago

Cézanne’s Portraits

This exhibition demonstrates that Cézanne is the true father of modern art. It is amazing to see how it was a deconstruction of the idea of the portrait in the painting from the 1880s, that question to which we really see when we look in the mirror. Since the beginning of the portraits of their friends and family with their tragicomic sense of the human condition of self-portraits unparalleled in that of Rembrandt, there is an amazing intellect and the courage of Cézanne’s representations of people.

26 October-11 February, The National Portrait Gallery, London.


Black and white – a large number of artists who have used it. This exhibition makes connections between the Renaissance and the Baroque technique of grisaille, in which the scenes are displayed in shades of gray to look like sculptural reliefs, modern and monchrome art. The 1960s paintings of Bridget Riley, Olafur Eliasson’s installation the Room A Color, and other cool and modern things juxtaposed with the likes of Dürer and Rembrandt.

30 October-18 February, The National Gallery, London.

Impressionists in London

The Avenue, Sydenham, 1871, by Camille Pissarro. Photo: National Gallery, London

Thanks to God, the nation’s gallery of British art has found an excuse to show off some of French art in his place. The artists who would be the first exhibition of the impressionists in 1874, he fled to London to escape the Franco-Prussian war of 1870-71. While in Britain, he painted views of the city and its suburbs whose vitality and freshness to put homegrown Victorian art to shame. To look at Pissarro’s The Avenue, Sydenham (1871) is to breathe a fresh air stuffy British art never stop. Monet would return in later years to stay at the Savoy and the painting of the view from your hotel room are, quite simply, the largest of the visions of London in the art.

November 2-7 May, Tate Britain, London.

One of Them Is a Human being #1 by Maija Tammi, a contender for the Taylor Wessing prize. Photo: Maija Tammi

Taylor Wessing photographic portrait prize

The most sensational contender for the award this year is Maija Tammi is surprisingly moving portrait of a woman android, casting reflective shadows across his – their? – the face by what seems to us as meeting a conscious mind. The other finalist artists, César Dezfuli and Abbie Trayler-Smith, show powerful photojournalism. Dezfuli deserves the first prize for their stunningly intense portrait of migrant Amadou Sumaila. A snapshot of the modern world.

November 16-February 4, The National Portrait Gallery, London.

Surrealism in Egypt

Where could this art of dreams and the unconscious makes more sense than in Cairo, where the unreal pyramids towered over a rich clash of cultures? This exhibition surveys the Art and Freedom group, which explored the radical possibilities of surrealism are in the decade of the 1930’s and 40’s. A little-known chapter of surreal history.

November 17-18 March, Tate Liverpool.

Gilbert and George: The Beard Images and their Fuckosophy

Beardout 2016, Gilbert & George. Photo: Gilbert & George/Courtesy White Cube

This fall is the 50th anniversary of Gilbert and George. Met on 25 September 1967 at St Martin’s University and have been together ever since. They are celebrating their golden wedding anniversary with an exhibition in London that included this great show of new work. Fashionable as ever, they’ve caught up with the 21st century is the love of the beard. And, as always, that aim to provoke with his most recent “fuckosophy”. Let’s raise a glass to artists who never bored, because they were never being boring.

22 November-28 January, White Cube Bermondsey, London.


Twelve naked for this doomed romantic hero of modern art should make a very sensual show. Modigliani is much more curious figure of his myth would suggest. It is true that the nude of the painting in the heart of this show put you in trouble with the Paris police in 1917. However, his art is a beautiful blend of the ‘cubist’ style that is found in France and the much older Renaissance tradition of the nakedness with which he grew up in his native Italy. That mixture of modernity and tradition is what makes it very accessible. Add to that his short and intense life with sex and drugs in abundance, and you have an artist who will always be young.

23 November-2 April, The Tate Modern, London.

Jack Goes Swimming (Jack), 2013, by Rose Wylie. Photo: jY/Courtesy of the artist

Rose Wylie

Now that the age does not appear the bar to win the Turner prize, the 82-year-old Rose Wylie may well be the next year in the list. Meanwhile, this prestigious stage of his nothing but pompous of the photos is a milestone in a very long career. Wylie’s paintings are dadaist free-for-alls cartoon daubing it seems that painted them in 10 seconds. Has grown up now she entered her 80s?

November 29-February 4, The Serpentine Sackler Gallery, London.