In Hardest Kinds of Soft, the works of artists Céline Ducrot and Cathrin Hoffmann enter into a thematic and visual dialogue to reflect on being human and corporeality in the (post)digital age. Particularly in their juxtaposition, their paintings and sculptures explore new perspectives on the ambivalences and challenges of an increasingly virtual hyper-reality.

On 16th September 1824 King Louis XVIII passed away after long weeks of illness. The coronation of his successor, Charles X, took place eight months later on 29th May 1825 in Reims. Le Dernier Sacre revisits this grand and luxurious ceremony with many objects shown for the first time since the nineteenth century.

In a collection of self-portraits that feature the artist dressed in an array of outfits, Hurlstone reveals the potential of garments to oscillate between their practical, gendered, and fashionable territories into uncharted psychological, emotional and cinematic terrains; we see one man, but many people.

This group exhibition explores ideas of belonging, memory, migration and the search for sanctuary. Curated by Dr Omar Kholeif as their ‘love-letter to London’, it brings together a cross-generational, international line-up of twenty artists including Otobong Nkanga, Lubaina Himid and Hugeutte Caland, offering glimpses into personal memories and imagined futures.

Rachel Ruysch’s deceptively realistic floral still lifes was sought-after and expensive collector’s items during her lifetime. Demand was so great that the Amsterdam painter could afford to produce merely a few works a year. As the daughter of the renowned professor of anatomy and botany, Frederik Ruysch, the first female member of the Confrerie Pictura, court painter in Düsseldorf, lottery game winner and the mother of eleven children, she was an exceptional figure in her time.