Ankarudden is not presented as a traditional landscape, but as a working condition exposed to nature.

The exhibition takes its name from Ankarudden, in the Swedish archipelago, where van Arkel has recently established a new studio. The weather, light, and vegetation of the archipelago have strongly influenced his work.

Björn Wessman’s painting emerges from the landscape as a sensorial experience of inhabiting it. Vindö – Eolian Island takes its title from the Swedish island where the artist lives and works, a place shaped by wind, water, vegetation, and a constantly shifting geography. This environment becomes both subject and method, forming the basis of a deeply personal pictorial language.

The Visual Genome and Live like you’ve never lived before are two film-works situated conspicuously between language and its failure, between the sign and its often comically disobedient referent, and between the felt and the said.

In prosper, despite a sense of crisis, Ahren Warner presents a new body of work which ranges across multiple disciplines, including film, wall-based sculpture and painting. Collectively, the work converges to explore the conflict between the alluring ideal of self-optimisation and the lived reality of our flawed selves.

Jack Burton’s first solo exhibition at Tube Gallery, Cynic’s Bedtime, unfolds within this tension. The title carries a double edge: to “put the cynic to bed,” suspending the inner skeptic and making room for sincerity, but also the restless night of a cynic who cannot sleep, haunted by runaway thoughts and external noise.

Shoreline is an exploration of this unique part of our world and its significance to humans, highlighting the ecological, geo-political, and aesthetic significance of coastal environments whilst understanding them as natural thresholds and areas of contamination-as-collaboration.

Victoria Cantons’ work intertwines painting, language, and memory to create images that resonate on both personal and collective levels. Drawing from diverse artistic traditions—from the Renaissance to Conceptual Art—her practice blends gestural expression, emotional intensity, and the fusion of text and image.

Solo exhibition by Jarl Ingvarsson (b. 1955) a renowned Swedish artist whose bold and expressive style has earned him widespread recognition. Raised in Sweden, he pursued his studies at the Royal Institute of Art in Stockholm from 1978 to 1983, where he laid the foundation for his distinctive artistic voice.

The Smoke That Thunders draws on film, documentary, and literature to reflect an estranged present shaped by unethical consumer capitalism, neo-colonialism, and corporate deception. Referencing Shell and the Marlboro Man, Boyla exposes how global corporations construct false narratives that distort reality and our perceptions of the world.

Rafa Forteza’s first exhibition titled Rafa Forteza: Etymologies, unfolds across two levels. It begins with his most recent paintings and guides visitors on a reverse journey through his sculptures and drawings, culminating in select works from the 1990s that have remained in his studio over time. The exhibition thus invites a return to his origins, retracing the path of his artistic evolution.

Ubiquitous No.14 is a group exhibition at Tube Gallery exploring circulation, speed, and efficiency in contemporary life. Referencing Michael Thonet’s No.14 chair, it brings together diverse practices to examine systems, acceleration, mass production, and how design shapes our relationship to objects and time.

Stilled Images presents seventeen artists working across film, photography, painting, drawing, and sculpture, whose works come together to investigate and interrogate the boundary between still and moving image.