Exhibition of the week Unicorn Medieval bestiaries, Renaissance art and narwhal horns make for a fascinating first exhibition in this impressive new Scottish museum. Perth Museum, Perth, 30 March to 22 September Also showing Enzo Mari The playful artist and designer who helped shape the look of Italy’s postwar economic miracle. Design Museum, London, 29 March to 8 September Soufiane Ababri Queer art from Morocco that takes on imperialism, racism and homophobia. Barbican Curve, London, until 30 June Ellen Lesperance Paintings and ceramics inspired by Greenham Common Women’s Peace Camp. Hollybush Gardens, London, until 27 April Anwar Jalal Shemza There is a boldness to the early portraits by Shemza in this show, done after he moved to Britain from Pakistan in 1956. Hales Gallery, London, 4 April to 18 May Image of the week Richard Serra, who died on Tuesday at the age of 85, was a daunting, fascinating artist. When I first met him in 1992, I was extremely nervous. Like his art, Serra emanated seriousness. Both had gravity and gravitas. However obdurate and physically imposing, his art has great subtlety and a complexity that only emerges when you spend time with it. It has the capacity to slow us down, engaging us physically but also psychologically. It is always in the here-and-now but begs the idea of timelessness. It is direct, but invites misreading. Read Adrian Searle’s appreciation in full here. What we learned The Stones’ Ronnie Wood is a talented painter Serendipity can result in a fabulous photograph Dalí’s rediscovered sketches for Spellbound reveal the truth behind Hitchcock’s famous dream sequence Dundee has been meticulously mapped out in 20,000 photographs Raymond Briggs was “not a normal person”, according to Raymond Briggs The trauma of war in Ukraine has resulted in some extraordinary artworks If you go down to Cheltenham promenade today, you’re sure of a big surprise Nick Cave tells a tragic story through his devilish ceramics A sculpture of Prince Philip is so awful that no artist will admit to making it Masterpiece of the week The Dead Christ and the Virgin by Neapolitan follower of Giotto, probably 1330s-40s The death of Christ became central to European art in the middle ages. It was a mystery that absorbed entire communities in the religion which both bound and ruled them: they marvelled at how God’s own son was born to die as a mortal human. This painting is a highly emotive rendering of the grief that the holy corpse evoked – a grief explicitly depicted here as that which any mother might feel for her child. It’s influenced by Giotto, the Tuscan artist who made art more human, intimate and characterful in the 1300s. But this painter is technically naive in a way that makes it all the more moving and raw. National Gallery, London Don’t forget To follow us on X (Twitter): @GdnArtandDesign. Sign up to the Art Weekly newsletter If you don’t already receive our regular roundup of art and design news via email, please sign up here. Get in Touch If you have any questions or comments about any of our newsletters please email newsletters@theguardian.com