My name is Rachel Marsh, I’m a Gallery Assistant here at the De La Warr Pavilion, and I write fiction and poetry. I enjoy writing poems inspired by the exhibitions here, and I have written one inspired by my favourite artwork in the Zineb Sedira exhibition, which is the lightboxes. This piece is called Shattered Carcasses and Architecture of the Forsaken, and these photographs were taken in Nouadhibou, Mauritania.

I love this piece because the photographs are beautiful, and on a gloomy day or when it gets dark, they really glow and stand out in the gallery. The lightboxes echo the shape of the wrecks, and the wires on the floor look like the tangled ropes and nets we see in the photographs.

Yet even though the photographs are beautiful, they tell a sad story. Hundreds of boats have been left to rot here, and toxic chemicals seep from them into the sea, as well as the netting, which is disastrous for marine life. Yet even though this is a tragic situation, from the research I did there is a glimmer of hope because it has provided jobs in salvaging and nature is good at recovering so actually there are new ecosystems, birds, and fish that have adapted or are adapting to this, so that ‘glimmer of hope’, I wanted to add that in my poem as well.

But there is another dark side to this place. Nouadhibou is a popular destination for migrants to leave because it’s become too difficult to travel from other countries in North Africa. Leaving Nouadhibou to try and reach the Canary Islands is an incredibly dangerous route to go.

The title of my poem is called Swallow the Poison, and this title has two meanings. Firstly, in the literal sense of the toxic waste produced by these shipwrecks, but it is also meant as a metaphor. It’s almost like something written in a fairytale, like the poisoned apple in Snow White. For example, migrants who are tempted by and fed this ‘poison’ by people-smuggling gangs who take their life savings and promise them a glittering future. They assure them that there is no or little danger in making these perilous journeys via the sea or hidden in the back of trucks. Of course, that isn’t the case all the time, but it can be, and we’ve seen enough examples in the news of where these kinds of tragic events have occurred.

My poem is written in couplets, but I wanted the top line to be consistently shorter than the lower line. This gives the poem a shape, so the couplets themselves take the form of boats, echoing the meaning and subject of the poem.



Seawater laps the ships,

tastes the red rust and swallows the poison down.


White crumbling walls, a cloudless sky.

A gold and blue cemetery, where hundreds of boats go to die.


Flaking paint, oil and toxic waste.

The recipe produces a bitter, burning, acrid taste.


Silt and sand topped with treacle tar.

The vessels fall silent showing their fatal, final scars.


Sunlight glitters across the waves.

The sea accepts the corpses to their watery graves.


Lumps of metal, twisted chains.

The letters start to fade in the corroded remains.


Fraying ropes and shards of glass.

Decorate the dunes, wild flowers and grass.


Tangled wire and lime green nets.

Failed journeys, corruption, environmental regrets.


Yet a glimmer of hope in the graveyard cove.

A salvaging industry, new habitats, ecosystems grow.


But the boats now notice other people leave.

Preparing tiny crafts for a voyage across the open sea.


Unable to move from their shoreline graves,

they watch them depart, souls they are unable to save.


Open mouthed portholes gape,

as families full of hopes and dreams make their escape.


Passing the ships in the graveyard town,

they smile, pay the money and swallow the poison down.

Listen to a reading of the poem from Rachel here:

Dreams; A poem by Rachel Marsh

Have you ever had any dreams before?

The ones where there are no closed doors to happiness.

Where everything you wish for comes true,

and the sea you swim in is a fairytale shade of blue.


The dreams where we fly to a world of our own,

where we sit in a heavenly garden we’ve grown.

A pier that sits in the sky instead of the sea

when the lights of the city were far below me.


The dreams where we can see loved ones we’ve lost,

and every Christmas has a perfect white winter frost.

Where the sea has no plastic and the water is pure,

and we feel independent, safe and secure.


But the nightmares can creep in, disturbing our dreams.

Where everything we love falls apart at the seams.

Hearts can be broken, and we feel fear and pain,

and the unkind words are repeating again.


But we cannot allow nightmares to ruin our day.

Let’s remember the dreams where the fear goes away.

The dreams that remind us of how strong we are,

let’s keep them in a dreamcatcher memory jar.



Wellcome Collection

24 March – 29 August 2022


In February 2022, Wellcome Collection opens Rooted Beings, a major new exhibition reimagining our relationship with plants and fungi.

De La Warr Pavilion, Wellcome Collection and West Dean College are currently working with interdisciplinary designers RESOLVE on a major new commission, ‘Re-wilding: Coast, Countryside, City’. Making use of the rich resources and histories at each partner site, RESOLVE are investigating humanity’s entangled relationship with the vegetal world, inviting new perspectives on environmentalism and re/wilding, long-term thinking, and practical solutions to living equitably with others and with nature. By researching new and ancient approaches to land use while on residency at West Dean College they will use this knowledge and build collaborations with young people in Bexhill and London to create a new commission for inclusion in Wellcome Collection’s Rooted Beings exhibition in March 2022, and a solo exhibition at the De La Warr Pavilion in May 2022. You can read more about RESOLVE and the new commission in our recent post here.

As the current environmental crisis exposes the vital yet fragile connections between human and planetary health, this exhibition will present plants as so much more than simply a resource for human consumption, tools or even decoration. Through new artists commissions as well as botanical specimens and historic works, it will explore what we can learn from plant behaviour as we rethink the significance of these ancient, complex, and sensitive beings. Rooted Beings while encourage us to rethink the way we see plants and embrace wildness in our lifes, landscapes and hearts.

The theme of colonial violence and indigenous knowledges takes as a starting point the botanical specimens and information brought to Europe from Latin America in the 18th and 19th centuries during the scientific expeditions and housed in the archives of Wellcome Collection and Royal Botanic Gardens, Kew. This period saw an unprecedented moment of global expansion in knowledge, trade and industrialisation, which happened at the expense of indigenous cultures being erased and ecosystems destroyed. Both artists’ works demand a move beyond this instrumental approach to the living world, instead reasserting the role of plants in nurturing our ecosystems and our imagination.

Patricia Domínguez‘s new commission Matrix Vegetal, produced in collaboration with Delfina Foundation, will bring together experimental research on ethnobotany (the study of how people from particular areas or cultures use indigenous plants), healing practices, and the commercialisation of wellbeing. The installation will feature five futuristic totems displaying botanical reproductions from Wellcome’s collection and Royal Botanic Gardens, Kew, honouring the narratives of violence and healing embodied by the displayed material.

Joseca, a Yanomami artist from the Amazon rainforest, produces detailed drawings that combine images of shamanic plant spirits, summoned to restore health and fight off disease, with scenes from daily life in the forest. Joseca’s drawings from the collection of the Fondation Cartier pour l’art contemporain (Paris) illustrate the significance of trees as central to the ecosystem that supports human and non-human life.

Simultaneously, installations by Eduardo Navarro, Gözde Ilki, Ingela Ihrman, explore the theme of symbiosis and what can be learnt from plant behaviour and our complex interdependence with the vegetal world. Eduardo Navarro‘s commission The Photosynthetics comprises a series of drawings on biodegradable paper envelopes containing the seeds of London plane trees that, after the exhibition closes, will be returned to the soil activating the seeds within. In collaboration with philosopher Michael Marder, Navarro has produced a series of instructions showing how to experience the exhibition as a plant, inviting us to embark on a journey towards vegetal enlightenment.

Meanwhile Gözde Ilkin will present As the roots spoke, the cracks deepened, a series of hand–sewn textiles expanding her interest in plant intelligence and interspecies symbiosis creating visions that transcend human, animal and plant categories; and Ingela Ihrman’s A Great Seaweed Day, inspired by the artist’s love of swimming in the sea will propose a deep connection between the ecosystems of the oceans and the human bodies. The seaweed sculptures suggest links between her intestinal flora and marine flora. Ihrman will also present The Passion Flower, a costume activated by the artist in a performance where the audience pollinated the plant by drinking ‘ nectar’ from the flower, an act of intimacy and attraction.

Some key highlight historical objects include: a 19th Century textile depicting Jambūdvīpa, the central continent of the middle world in Jain cosmology; illustrations from John Ernest Weavers’ The Ecological Relations of Roots; and an Egyptian papyrus from 400AD thought to be the earliest fragment in existence of an illustrated herbal for medical purposes.

Finally, the theme of wilding encourages us to break down the artificial wall between nature and culture to ‘rewild’ our land and our minds through new commissions by Sop and RESOLVE Collective.

Artist Sop returns to Wellcome Collection to present The Den 3, a new installation where Sop narrates the process of constructing a secret den in the wood near their house in London, as they were shielding during the Covid-19 pandemic. It reveals how their relationship with the woods chimes with their experience of illness, finding solace in the longevity of nature set against our relatively fleeting human lives. And finally, in collaboration with Wellcome Collection Youth Programme, De La Warr Pavilion and West Dean College of Arts and Conservation, RESOLVE Collective will present a new commission which will take the form of action-research programme inviting young people to think through ideas around stewardship, racialised privilege, and colonial histories in the UK countryside.

Exhibition curator Bárbara Rodríguez Muñoz said:

“Rooted Beings proposes a space to meditate on our relationship with the natural world and its impact on ecosystems, our liveliness and our health. The exhibition is essentially an entanglement of collections and artists projects that invite us to embark on a meditative reflection on plant life and what we can learn from it: to be rooted, attentive, flexible and caring – to attain vegetal wisdom.”

Rooted Beings is presented at Wellcome Collection from 24 February to 29 August 2022. It is curated by Bárbara Rodríguez Muñoz with Emily Sargent, and it is a collaboration between Wellcome Collection and La Casa Encendida, Madrid. Commission partners: Delfina Foundation, De La Warr Pavilion, West Dean College of Arts and Conservation.

The exhibition is accompanied by ‘This Book is a Plant: How to Grow, Learn and Radically Engage with the Natural World’, published by Wellcome Collection and Profile Books.


For further press information and images please contact: Juan Sánchez, Media Manager, Wellcome Collection

E: j.sanchez@wellcome.org | T: +44 207 611 8820 | W: wellcomecollection.org/press



Visitor information

• Rooted Beings opens 24 February until 29 August 2022.
• Admission to Wellcome Collection is free.
• Opening Hours: Tuesday to Sunday 10.00 to 18.00, closed Mondays. • Address: Wellcome Collection, 183 Euston Road NW1 2BE

Accompanying Publication

This Book is a Plant: How to Grow, Learn and Radically Engage with the Natural World is a new Wellcome Collection title which accompanies the major exhibition Rooted Beings. We’ve become used to thinking of plants as things for us to use, as food, tools, resources, or just as an attractive background to our own lives. But it’s time to change our minds. New research shows that plants can think, plan, and may even have memories. We share our planet with beings whose potential we have only glimpsed. Featuring the writing of Robin Wall Kimmerer, Susie Orbach and Merlin Sheldrake, This Book is a Plant will be your handbook to the new reality: showing you a pathway to completely reimagine your relationship with a different kind of natural world. Delve into a world of moss and fungi: Sheila Watt-Cloutier transports us to the Arctic Spring, Sumana Roy invites us into a world of bamboo and Bengali poetry, and Rebecca Tamás puts roots down through earth and soil. This Book is a Plant is made from paper: it was once part of a tree. But it’s also a seed: the first shoots of a radical new way of seeing the world around you.

About La Casa Encendida, Madrid

La Casa Encendida, Madrid, is a social and cultural centre managed by Fundación Montemadrid, a dynamic space open to audiences of all ages and persuasions where visitors can find some of today’s most groundbreaking artistic expressions as well as educational, philosophical and debating activities that revolve around the centre’s four main spheres of action: Arts, Solidarity, Environment and Education.

About Andreas Lechthaler Architecture – Exhibition Designers

Andreas Lechthale Architecture work at the interface between art, architecture and public space. They create complementing and highly individual settings for art experiences and help artists realise their vision. Their practice works across many scales, from public space, gallery and museum design through to exhibition architecture and furniture design. All interventions are driven from a desire to create coherent, subtle and multisensory spaces that create holistic environments which allow personal interaction and a sense of wonder and unnoticed enhancement. Recent commissions include “Kusama –A Retrospective” at Gropius Bau Berlin, “Pipilotti Rist” at L.A. Moca, “The Soho Photography Quarter” for Westminster and On Happiness at Wellcome Collection.

About Wellcome Collection

Wellcome Collection is a free museum and library exploring health and human experience. Its vision is to challenge how we all think and feel about health by connecting science, medicine, life and art. It offers changing curated exhibitions, museum and library collections, public events, in addition to a shop, restaurant and café. Wellcome Collection publishes books on what it means to be human, and collaborates widely to reach broad and diverse audiences, locally and globally.

Wellcome Collection actively develops and preserves collections for current and future audiences and, where possible, offers new narratives about health and the human condition. The museum and library work to engage underrepresented audiences, including deaf, disabled, neurodivergent, and racially minoritised communities.

Wellcome Collection is part of Wellcome which supports science to solve the urgent health challenges facing everyone. We support discovery research into life, health and wellbeing, and we’re taking on three worldwide health challenges: mental health, global heating and infectious diseases. We are a politically and financially independent foundation.


Social Media

Twitter: @ExploreWellcome

Instagram: @wellcomecollection

Facebook: @wellcomecollection



#IWD2021 The story behind Stitch for Change

On International Women’s Day, we celebrate the bravery and determination of the women of Chile whose menfolk were detained/disappeared under the Pinochet regime.

By coming together in stitching workshops, the women recorded the crimes of the dictatorship, and the resulting arpilleras became an archive of a history that the government tried to suppress. The women found strength and solidarity through the arpillera-making and became activists, finding courage together in their quest to discover what happened to their loved ones.

Rossana Leal of the Refugee Buddy Project Hastings, Rother and Wealden, Jimena Pardo and Janey Moffat from Stitch For Change continue this work, with the storytelling element of the arpillera craft as the tool to tell stories and come together under lockdown.

Rossana Leal – Founder & Director, The Refugee Buddy Project and Co-ordinator of Stitch for Change

Telling our own stories is a fundamental part of the work of the Refugee Buddy Project. This can often be a very difficult thing to do because we are not often given the chance to tell our stories. When we do, as a refugees, our stories are questioned often challenged and hung out to dry by the hostile environment which puts into question and makes public everything about our lives. For this reason, the storytelling element of the arpillera craft seemed so right, as the tool we needed to both tell our stories and come together under lockdown. The Stitch for Change sessions gave us a chance to think about what we were experiencing, what we wanted to say, how we wanted to say it and how we wanted to present it. We would show each other our finished pieces and talk about what we had made. We connected, we cried, we talked and we looked after each other. Most importantly, we told our stories of lockdown 2020, the way we wanted to.

Jimena Pardo – Stitch for Change Facilitator

During the Stitch for Change project, the main connections I wanted to explore were around the Chilean arpilleras being a form of solidarity. Growing up as a Chilean refugee, I came into contact with Arpilleras that arrived from Chile to be sold in the UK as solidarity art. The context of the dictatorship within which the arpilleras were made in the 70s and 80s has now shifted and around the world, arpilleras are made as a way of remembering events as well as a textile testimony. In Stitch for Change, we wanted to make a record of the pandemic, the fear, loss, uncertainty, and also the kindness that has been shown during this lockdown. Covid 19 has no borders and across many continents, we have seen the stark inequalities laid bare because of it. The arpilleras aesthetic and symbolism holds that ability to speak of terrible things but in a way that also speaks of the humanity and hope within us and that is why I relate so strongly with them.

Janey Moffatt – Stitch For Change Facilitator

March 2020 felt like no other month in time; a whirlwind of chaotic emotions, fears and uncertainty as the world faced the Covid 19 Pandemic and went into lockdown.

It felt appropriate to respond to the situation by being flexible, available, nurturing, containing; hence our decision to carry Stitch For Change forward during this challenging time using the tools that were available to us.  We instinctively felt that participants would need the project more than ever as a way to rest and unravel in a safe space.  It felt like a mature reaction and I felt proud of our joint decisions as co-facilitators after the sessions had been carried out.

I learned a lot about the subtlety of important change and growth in individuals and the necessity of examining projects qualitatively rather than quantitatively.  I had a tendency to focus on the latter in the past, feeling the need for numbers and results in order to prove the validity of my work.  I’ve had a deep shift in my awareness that it’s unethical to view a human being only as a number or statistic – and this type of number crunching is a skewed way of evaluating work amongst humans.

The project has helped me to feel deeply connected to others who use stitch to mark any of the wide expanse of human emotion and experience – from the people who made Arpilleras to those who have stitched in psychiatric hospitals and prisons.  It has given me a sense of my place in history, and the feeling that I stand in one tiny spot of a vast network of time.


Read more about the exhibitions All In The Same Storm: Pandemic Patchwork Stories using the button below.


Image from original footage contained in Scraps of Life 28 minutes film produced by Gayla Jamison, 1992, Lightfoot Films, Inc.
With permission of the producer, © Conflict Textiles

DLWP joins Plus Tate network!

Plus Tate has announced that the De La Warr Pavilion and 12 other visual arts organisations will join their network, taking the cohort of member organisations across the country to 48.

Rosie Cooper, our Head of Exhibitions says “We are thrilled to be part of the newest cohort of Plus Tate members. As an organisation that needs to be incredibly resourceful to present such an ambitious programme of new commissions, exhibitions and learning, it is invaluable for us to be connected to such a strong network of organisations across the UK who we can share learning and ideas with. It is a challenging time for the arts, and organisations are being held accountable in important ways. Working together with common purpose, we can create meaningful change.”

Launched in 2010, Plus Tate shares collections and expertise to build a network that exchanges knowledge, skills and resources to strengthen the contemporary visual arts ecology in the UK. The announcement comes alongside news that Tate has moved its national partnerships department to Liverpool under director Helen Legg.

The new members range in size and include universities, collection-based galleries and non-venue organisations, all with a commitment to better reflecting their local communities and developing close connections with a range of audiences. Among the new Plus Tate partners are Iniva (Institute of International Visual Arts), whose programme reflects on the social and political impact of globalisation; DASH, a disabled-led organisation that creates opportunities for disabled artists to develop their creative practice; Void, a contemporary art space commissioning a diverse range of artistic practices which places participation, engagement and learning at its heart; and Autograph, which explores identity, representation, human rights and social justice through photography and film.

The reach of the network across the UK is demonstrated by its new members, with two galleries in Dundee and four in London, along with a host of institutions across northern England, galleries in southern coastal towns and another in Derry~Londonderry.

The new Plus Tate partners are: Autograph, Gasworks, Iniva and The Showroom in London; Cooper Gallery and Dundee Contemporary Arts in Dundee; DASH in Shropshire; De La Warr Pavilion in Bexhill-on-Sea; Focal Point Gallery in Southend-on-Sea; Leeds Art Gallery; New Art Exchange in Nottingham; Site Gallery in Sheffield; and Void in Derry~Londonderry. Manchester Art Gallery will also join its sister gallery, the Whitworth, as part of the network.

The 13 new Plus Tate partners join the existing network of 35 organisations, which are:

Artes Mundi, Arnolfini, BALTIC, Camden Arts Centre, Centre for Contemporary Art Derry~Londonderry, Centre for Chinese Contemporary Art in Manchester, Chisenhale Gallery, Firstsite, The Fruitmarket Gallery, Glynn Vivian, Grizedale Arts, Golden Thread Gallery, Harris Museum and Art Gallery, John Hansard Gallery, The Hepworth, HOME, Ikon, Kettle’s Yard, Liverpool Biennial, The MAC Belfast, mima, MK Gallery, Modern Art Oxford, MOSTYN, Newlyn Art Gallery and the Exchange, The Northern Gallery for Contemporary Art, Nottingham Contemporary, The Pier Arts Centre, the South London Gallery, Spike Island, Towner, Turner Contemporary, Whitworth Art Gallery, Wysing Arts Centre and the four Tate galleries.

May 16th, 1941” Grace Pailthorpe (1883-1971), 1941. Photo © Tate. Presented as part of A Tale of Mother’s Bones: Grace Pailthorpe, Reuben Mednikoff and the Birth of Psychorealism, De La Warr Pavilion, 2018.

Karl Wirsum, Ice Pick Nick Fisherman, 1979 (acrylic on wood, 22 inches high)

The banner on the wall of the Pavilion depicts a work Ice Pick Nick Fisherman from 1979 by artist Karl Wirsum (b.1939, USA), who collected toys and puppets. This work is inspired by his collection. They are small hand-made wooden puppets, with wooden handles for the puppeteer to hold. They depict fisherman, who used ice-picks to fish. The puppets are part of our How Chicago! Imagists 1960s & 70s exhibition, which features works by 14 artists whose distinctive and lively visual style would go on to influence some of the most important artists of the 20th century. Many of the works were inspired by the artists’ love of everyday items such as comic books, amusement arcades and advertising, with no hidden meaning.

We appreciate that the post on Facebook did not give background to this work, and we are sorry for any offence caused. We have spoken to some trusted community partners and have made the decision to keep the banner up. People who walk past the Pavilion will know that we regularly change our banners according to the season.

To see who we work with in our local community, click here 





Last chance to see Tai Shani’s Turner Prize-shortlisted work at DLWP

The De La Warr Pavilion extend our biggest congratulations to Tai Shani for making the 2019 Turner Prize shortlist.

Shani’s artistic contribution to our spring exhibition, Still I Rise: Feminisms, Gender, Resistance, Act 2 and her continued support of our extended programme of events have been invaluable in the exhibition’s success. The Pavilion is thrilled to once again have the privilege of bringing Turner Prize-nominated work to our visitors.

From Turner Contemporary’s shortlist announcement:
For her participation in Glasgow International 2018, solo exhibition DC: Semiramis at The Tetley, Leeds and participation in Still I Rise: Feminisms, Gender, Resistance at Nottingham Contemporary and the De Le Warr Pavilion, Bexhill-on-Sea. The jury noted the compelling nature of Shani’s ongoing project Dark Continent, particularly the work’s ability to combine historical texts with contemporary references and issues.

Developed over four years, it takes inspiration from a 15th-century feminist text, Christine de Pizan’s The Book of the City of Ladies. Shani uses theatrical installations, performances and films to create her own allegorical city of women populated by fantastical characters, transporting the viewer to another time and place.

Co-curator of Still I Rise, Cédric Fauq, on why Shani’s work was included in the exhibition: “Tai Shani’s work has that potency to shift the aesthetic vocabulary often attached to contemporary feminist practices. Not only her work appeals to the eyes, but it also has that haptic quality, it makes you want to touch. What I find particularly compelling is how this better leads you to focus on the stories she is telling. More than a realm, Tai’s body of work creates a whole cosmos. One where white patriarchy got swallowed by a black hole.”

DLWP visitors can see Shani’s works for free in our Ground floor gallery until May 27 when the exhibition closes. Her works are:

Showings, 2018
“These are models for a structured, tragic play about my family.
These are sites for myth making and the collapse of myth into prosaic materials both natural and synthetic.
These are her bodily remains.
These are cryptic; they are spell books, to be read literally but with profound belief.
These are maquettes for never closing, hedonistic nightclubs, where we can lose our minds.
These are a symbolic portrait of a time-travelling mystic. These are an aerial drone view of archaeological sites of unknown civilisations, from the very far past of the very far future.
These are dwellings for my cat Oedipuss.
These are a faery corpse.
These are a medieval vision of the soul as resembling a castle, formed of a single diamond or a very transparent crystal, and containing many rooms, just as in Heaven there are many mansions.
These are airports for extra-terrestrials my parent’s sibling said when they saw them.
These are portraits for ghosts to come into our world, they can be summoned here.”

Still I Rise: Feminisms, Gender, Resistance, Act 2, 2019, De La Warr Pavilion, Installation View. Image courtesy of Rob Harris.
Still I Rise: Feminisms, Gender, Resistance, Act 2, 2019, De La Warr Pavilion, Installation View. Image courtesy of Rob Harris.

Dark Continent (Phantasmagoregasm), 2018
Phantasmagoregasm is an 18th-century hermaphrodite writer of Gothic fiction. Many of the early Victorian prominent gothic writers were women that wrote under their own names, or under psychonyms, arguably establishing the horror genre. That character that appears in this exhibition is one of twelve from my Dark Continent project. They are interpretations of women that, at different points in history, had access to a public life and selfrealisation under supernatural and mystical terms.”

Still I Rise: Feminisms, Gender, Resistance, Act 2, 2019, De La Warr Pavilion, Installation View. Image courtesy of Rob Harris.

Plan your visit to the DLWP on our website.

Read about the other 2019 Turner Prize nominees here.


Project Art Works 2018

Project Art Works’ Seminar Art People Representation – Reflecting the Lived Experience, took place in November 2018. The Seminar was part of the Explorers Project, a three year programme of inclusive cultural actions and partnerships nationally and internationally. The project will culminate in a year-long programme of exhibitions, installations and new cultural commissioning models that place neurodiverse communities, artists and makers at the heart of civic and cultural life.

The seminar took an innovative approach to discussing art and social care, moving away from didactic presentations and exploring collaboration, non-verbal communication, institutional empathy and arts practice. Extensive contributions from neurodiverse people throughout the building and across the whole day broke down barriers of understanding and gave honest, frank and often moving insights into real experiences.

“It was an amazing event – extremely well hosted, incredibly relevant and very thought provoking. I particularly appreciated the way the art was used to include everyone”

“I found it very interesting and came away with a sense of real inclusive collaboration”

“This was a truly thought provoking and inspiring event”

“A warm, celebratory event with integrity threaded through its core”

Image Credit: EXPLORERS Project Seminar, Project Art Works, 2018

Exhibition Programme 2019


The De La Warr Pavilion’s 2019 exhibition programme begins on February 9 with Still I Rise: Feminisms, Gender, Resistance, Act 2. Over 50 artists, designers, architects and archives are brought together in conversation across time and space to consider resistance from a gender perspective, spanning the 19th century to the present and beyond. Co-curated with Nottingham Contemporary where Act 1 opened last year, the exhibition is recalibrated for Act 2 to focus on architecture, design and the politics of space.

Act 2 includes: Fanny Adams, Jane Addams/Hull-House, Amina Ahmed, Alice Constance Austin, Xenobia Bailey, Glenn Belverio (Glennda Orgasm), Micha Cárdenas, CARYATIDS (Chicks in Architecture Refuse to Yield to Atavistic Thinking in Design and Society), Carolina Caycedo, Judy Chicago, Phyllis Christopher, Jackie Collins and Pat Garrett, Jamie Crewe, Blondell Cummings, Dyke Action Machine!, Feminist Land Art Retreat, Guo Fengyi, Carl Gent, Eduardo Gil, Kaveh Golestan, Gran Fury, Rachael House, Charlotte Johannesson, Jesse Jones, Corita Kent, Donna Kukama, Suzanne Lacy, Ellen Lesperance, Zoe Leonard, Sheila Levrant de Bretteville, Mary Lowndes, Matrix Feminist Design Co-operative, Louise Michel, Ad Minoliti, Okwui Okpokwasili, 0rphan Drift, Lucy Orta, Brenda Prince, Tabita Rezaire, Lala Rukh, Zorka Ságlová, See Red Women’s Workshop, Tai Shani, Terence Smith (Joan Jett Blakk), Linda Stupart, Ramaya Tegegne, Gille de Vlieg, VNS Matrix, Jala Wahid, Faith Wilding, Zadie Xa, Osías Yanov.

Opening the same day, Hayv Kahraman’s solo exhibition Displaced Choreographies brings together painting, drawing, sculpture and performance in an exploration of migrant consciousness. A recurrent female figure evokes shared histories between women, particularly women of colour, combining the artist’s personal history with “stolen” references including European Renaissance imagery, Iranian and Japanese miniature traditions.

The De La Warr Pavilion is the lead partner in OUTLANDS, the new national touring experimental music network; it will present a new commission, Ecstatic Material, by Keith Harrison and Beatrice Dillon on February 15.
Visit OUTLANDS Network for information.


The Chicago Imagists influenced some of the most important artists of the 20th century. Their first UK show in almost 40 years, How Chicago! Imagists 1960s & ’70s opens on June 15 and features paintings, objects, drawings, prints and ephemera, highlighting the artists’ individual styles, shared references and moments of connection. The show features 14 artists: Roger Brown, Sarah Canright, James Falconer, Ed Flood, Art Green, Philip Hanson, Gladys Nilsson, Jim Nutt, Ed Paschke, Christina Ramberg, Suellen Rocca, Barbara Rossi, Karl Wirsum and Ray Yoshida. Organised by Hayward Gallery Touring in collaboration with the De La Warr Pavilion and Goldsmiths Centre for Contemporary Art.

Our summer programme celebrates and interrogates the legacies of the Bauhaus in our First Floor Gallery. Events, workshops, performances and conversations will explore Bauhaus methodologies of “thinking through making,” and how these might continue to be useful. The programme is underpinned by a new commission by Lauren Godfrey, whose sculptures often take the form of domestic scaled objects, quasi-furniture and the almost-useful. In partnership with UCL.


The autumn season begins on September 28 with a major new commission by Mikhail Karikis. It emerges from a year-long residency at Project Art Works, working with people who have complex support needs. Continuing his ongoing enquiry into social and political agency and the power of nonverbal communication, Karikis’ commission will respond to Project Art Works’ charter of rights for those with complex needs. Part of Project Art Works’ Explorers 2019 co-commission programme.

Occupying the First Floor Gallery will be an exhibition of new ceramic and tapestry works by Renee So, created during a residency at West Dean College of Arts and Conservation organised as an open call celebrating the 100th anniversary of the Bauhaus. So’s work often contains fictional personas, borrowed from ancient ritual masks, military and aristocratic portraiture. During her residency she will be paying particular attention to women of the Bauhaus.

Our exhibitions are accompanied by Learning and Participation activities for all ages. See the latest exhibition events, talks and workshops on our What’s On page.

Please visit dlwp.com/support/membership to join our mailing list.

Image credits:
Hayv Kahraman, Hussein Pasha, 2013, Oil on wood. Courtesy Defares Collection
Gladys Nilsson, A Cold Mouth, 1968 © the artist. Courtesy the artist and Garth Greenan Gallery, New York

October Half Term @dlwp

As schools break up this Friday (21 October) for October Half Term here is our guide to what’s coming up at DLWP!

With lots going on, it’s time to get planning. Ticketed events have limited spaces available so we highly recommend booking now!
All our family and children events are sponsored by The Italian Way.

STEAM Powered Big Draw Festival

Saturday 22 & Sunday 23 October 12noon – 4pm
Free event and great for all the family. Drop-in to explore Science, Technology, Engineering, Art and Maths (STEAM) through fun experimental drawing techniques and contribute to an evolving installation in the De La Warr Pavilion Studio. Please note our studio capacity is limited and entry this drop-in event is a first-come, first served.

Monday 24, Tuesday 25 & Wednesday 26 October

HALF TERM WORKSHOPS Unravel some of the ideas and processes within the galleries, in our artist-led workshops. Artist Karen Logan will facilitate alternative tours of the exhibitions, encouraging open-ended experimentation with creative skills and techniques.


Monday 24 October 10am – 1pm, £8, for ages 7 – 11 years
Explore full stops, circles, cylinders and spheres, and assemble dazzling structures and installations.
Among The Stars

Tuesday 25 October 10am – 1pm, £8, for ages 7 – 11 years
Produce decorative floating, flying artworks, using a variety of methods and materials.
Pop-Up Pages

Wednesday 26 October 10am-1pm, £8, for ages 7 – 11 years
Develop skills and techniques to engineer amazing 3D letters and glyphs in paper and card.


Both our The Divine Comedy & Henning Wehn gigs are now sold out, however, the auditorium is not the only place where we hold events for grown-ups. Our studio has seen many enlightening and creative workshops
Letterpress Workshop

Saturday 29 October 10.30am-4.30pm, £45, for 18 years+
After a fun-filled week of keeping the kids entertained it’s time to have some time to yourself. Our adult Letterpress workshop is the perfect way to explore your creativity through typography and printmaking and create your own unique prints.
BOOK NOW Only a few spaces left!


This is your chance to explore the exhibitions with your family and friends. Our galleries are always free and our friendly team are happy to answer any questions about the artwork.
Fiona Banner: Buoys Boys

Ground Floor Gallery
Open until Sunday 8 January 2017
As part of the Root 1066 International Festival.
Leading British artist Fiona Banner presents an immersive installation exploring her ongoing interest in language and its limitations. The exhibition, which takes place both inside and outside of the gallery, is a play on digital versus material experiences.
Peter Blake: Alphabets, Letters & Numbers.

First Floor Gallery
Open until Sunday 27 November 2016
This stunning exhibition by Peter Blake comprises three print series,Alphabet (1991), An Alphabet (2007) and Appropriated Alphabets (2013), and a personally chosen selection of related original artworks.


All our dishes are made from fresh, seasonal ingredients and sourced locally where possible. This means the fish and seafood is locally caught, meat comes from the local butchers (farms) and bread from the local bakers.

Check out our breakfast, lunch & afternoon menus

We like to keep it simple here, there’s no need to book and once you have decided what to eat, please order at the bar and your food will be brought to your table.

Breakfast 10-11.30am, lunch 12-3pm, afternoon 3-5pm
(service hours will be changing at the end of October)
Have a great Half Term!

Top image: taken by photographer James Clarke jamesclarke.me