If there's any further proof that the spirit of the 1990s is back it can be seen in the art world, and the retrospective celebration of the Young British Artists. The biggest names, Tracey Emin and Damien Hirst, are living off the PR from large-scale shows (Emin last Summer at Hayward Gallery and Hirst currently at Tate Modern, fresh from the eleven city world tour of the Gagosian galleries). Because have recently featured a show of new work by Gavin Turk, and today we have Make Love, at Situation, the first show in five solo exhibitions this year by Sarah Lucas.

Emin and Hirst can keep the museum retrospectives; Lucas's gallerist Sadie Coles has hired an entire gallery for the artist to display these quintet of exhibitions. Located just by the Royal Academy (where, incidentally, Emin has recently been appointed Professor of Drawing - they're a busy bunch, these yBas), and named Situation, Lucas's premier show in this great hallowed corridor of tradition in art is Make Love.

Lucas's ribald eroticism may be too much for the wider general public that Emin and Hirst enjoy playing to, but this Viz-style humour is just as interesting as it was fifteen years ago. Her work goes much further than that though. There are the fabricated layers that explore the body, particularly the female form, skewed and inverted, but that the draw reference, from the semi-nude in traditional fine art practice. It is a very contemporary look at what fine art can be in today's world, once it has been through the wringer of feminism and post-modernism. Lucas, an advocate of the self-portrait, presents works that confront the viewer. They are only uneasy if that viewer refuses to shed their inhibitions. It's a form of installation, sculpture and photography that is reminiscent of the intense and raw paintings by Lucien Freud and Jenny Saville. It might just be the most interesting new space to open in London for years.

Sarah Lucas is at Situation until December.

MoMA New York held a blockbuster headline-grabbing Bauhaus exhibition in 2010; as part of their Theo van Doesberg show in 2011 Tate Modern remembered the great Constructivist alongside some of his Bauhaus colleagues. Both pale (sorry MoMA) to the large-scale display just opened at Barbican, Bauhaus: Art as Life, a blockbuster retrospective of the ground-breaking movement; the largest such UK exhibition in over forty years.

Think of an artform, any artform. There are examples of all on display here: painting, sculpture, design, architecture, film, photography, textiles, ceramics, theatre and more besides, from the biggest names of early twentieth century Modernist art. Walter Gropius, Laszlo Moholy-Nagy, Paul Klee, Ludwig Mies van de Rohe, Marianne Brandt, and a host of younger, less established artists. This is exhibition making the scale of which is seen rarely outside of the grander museums dedicated to modern art.

And the scale of the show and the breadth of work cannot be denied, because the Bauhaus wasn't just an artistic movement but an entire culture. Artists from every background saw twentieth century industry as a Brave New World that could be shaped in a particular vision. They could see that mechanised shifts would irreversably change the way people interacted with the world and developed a path that rejected the old and embraced the new. Instigated and led by Gropius at the Bauhaus School (an actual - physical - college of art education), the movement taught a way of living, underpinned by an artistic aesthetic whose threads ran through every aspect of daily living. Lived under a utopian ideal, this is an utopian vision of how art can be a fundemental element of everyday life, to educate and enrich. It's the beauty of the modern age.

Bauhaus: Art as Life is at Barbican until 12 August.

Mia Hansen-Løve is an anomalous character in the filmmaking world: a young, female film director. Only thirty-one, she has directed and found distribution for two short films and three features. Her first, Tout est pardonné, was nominated for Best Film at the French Academy Awards, the Césars in 2008. Her second, Le père de mes enfants, won at Cannes in 2009. Her latest film, Un amour de jeunesse, is currently in cinemas.

Translated as Goodbye First Love, the film shows a decade in the life of Camille, who we first meet in 1999 at fifteen years old. Eight years later, as an architecture student, we catch up with Camille again. Sullivan is the boyfriend, her first; the memory of whom she simply cannot shake. Unlike many French films of the past decade, Un amour de jeunesse has little to do with politics or sex, family or society. There's very little plot to speak of, but none of this really matters.

There has been talk of nepotism in the already critically distinguished career of Hansen-Løve (her own paramour is the director Olivier Assayas), and though Le père de mes enfants should have put paid to that idle chatter, Un amour de jeunesse proves how talented and filmic she is in her own right. A former critic for Cahiers du Cinema, Hansen-Løve has crafted a semi-autobiographical fairy tale of gorgeously romantic proportions. It's a story of the emotional growth of a girl into a woman. As rare as Hansen-Løve may be in the industry, this kind of film is even rarer.

Un amour de jeunesse is on limited release.