Exhibition of the week
This Is Where We Meet
Discover some talented young painters including Michael Chance, Joana Galego, Melissa Kime and more in this virtual pop-up show in a West End shop.
• Carousel Next Door, London, until 31 January.
Sarah Lucas: Hurricane Doris
See Lucas’s latest perverse and powerful sculptures in a video tour with artist Angela Bulloch as your guide.
• CFA, Berlin, until 27 February.
Richard Hamilton: Towards a Definitive Statement
The British disciple of Duchamp who named pop art, painted the Troubles and inspired Roxy Music gets a well deserved survey.
• Cristea Roberts, London, until 19 February.
Philip Guston: Transformation
This great American artist’s hooded Ku Klux Klan characters comment so mordantly on racism it is considered too shocking by the Tate – but you can see his art here.
• Hauser & Wirth, London, until 28 March.
Jennifer Packer: The Eye Is Not Satisfied With Seeing
Hear this beguiling artist in conversation with Hans Ulrich Obrist and see a video of her show.
• Serpentine Gallery, London, until 14 March.
Image of the week
There could hardly be a more perfect time for Americans to see the macabre art of Francisco Goya, due to be exhibited at the Metropolitan Museum in New York next month. More than 200 years ago, the Spanish artist’s work captured the collective delusion and mass fanaticism that swarmed the US Capitol last week. Read more here.
What we learned
Masterpiece of the week
Venice: Palazzo Grimani, about 1756-68, by Canaletto
Canaletto is a byword for tourist art but when you look more closely, his views of 18th-century Venice are full of darkness and decay – none more so than this haunting depiction of a palace in decline. Dirt cakes the once-glittering facade of a grand Renaissance building as a gondola goes by. Palazzo Grimani was one of the most glamorous aristocratic residences in the Serene Republic in the age of Titian, and housed a spectacular art collection. By Canaletto’s day it was the quietly mouldering pile we see here. Its decline would continue until, by the 1970s, it was a dangerous ruin that made the perfect sinister location for the scariest scene in Nicolas Roeg’s great film Don’t Look Now. Today it has been restored and is open to the public, but look out …
• National Gallery, London.
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