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Artist Mary Hooper is composing a sound track for this year’s Christmas lantern installation in the north staircase of the Pavilion. The sound track will be compiled from recordings of winter woodland sounds, footsteps in the snow, ice melting, and reindeer.

Mary would like to feature  voices of people from different countries saying “peace and goodwill” speaking in their own languages.

If you would like please follow the instructions  below – any age or gender or nationality is welcome to join in!

How to record:

• Please record on your phone yourself, or a friend or relative saying “peace and goodwill” in your/their own language
• Try to record without too much noise in the background.
• Leave a short pause – count to 4 and say “peace and goodwill”
• After you have spoken the words count to 4 again, stop recording and save.
• Email the recording to  to ma.hooper1@btinternet.com with the subject line “Christmas message” or share to whatsapp on 07939645939 with the subject title Christmas message.

Thank you for taking part!  The deadline is Tuesday 6 December.

If you would like your name mentioned then  please write your name in the email or message.

Last Summer, the Pavilion’s young people’s group, The Blueprint Collective, collaborated with students from Bexhill College and RESOLVE Collective in order to create the ‘RESOLVE COLLECTIVE: LIDO’ exhibition that was on display in our Ground floor gallery from 28 May – 4 September. The exhibition was conceived as a leisure space for Bexhill, and local groups were invited to use the space for their own programmes as well as participating in a dynamic public programme curated by the young people and the team at the Pavilion. Aimee Staples, a member of The Blueprint Collective, recently wrote a blog detailing her experience throughout the process:

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Hello, my name is Aimee. I am a member of The Blueprint Collective, a group of young people aged 16-24 who are the De La Warr Pavilion’s youth collective. This year we were incredibly lucky to have the opportunity to work collaboratively with RESOLVE Collective in a series of workshops to help create the exhibition LIDO, which was displayed in the Ground Floors Gallery from May to September 2022.

Going into the workshops we really did not know what to expect. In the first session with RESOLVE they gave us a task to draw on napkins; we had 30 seconds to create some sort of design. This feeling of not knowing what was coming next continued when one of the first big questions we were asked was “What is a rock?” Then soon followed by “What is a chair?”. To answer this, we created Venn diagrams about what made a chair and a rock, and what was not a ch  air or rock. Things such as size, or design affected what we argued. These debates turned into statements which we wrote down. We at the time had no idea how these would be used, but in the exhibition, they were turned into quotes that were on the walls for people to read.

On the next workshop we went on an audio walk. RESOLVE taught us a lot about mapping and different ways of mapping. They talked to us about what an audio walk is and discussed what it would include. They asked us to write down all the places of importance to us in Bexhill. At first, we struggled to think of anywhere, but after a couple of minutes of discussion, memories came back, and we were filling the page. We then drew and mapped out these places and created a direct route for us to walk. We then headed out and started at the very place where we were, the De La Warr Pavilion. From there we went to the fountains, to the Sovereign Light Café (and listened to the song of course), Egerton Park, the Library, and our favourite charity shop. Interestingly we learnt RESOLVE thought gen z did not listen to CD’s which we all love! While going around we were all sharing stories of why we love these places and what they mean to us, while being recorded by RESOLVE. These recordings were later put into the structures and played at staggered intervals in the exhibition. The feeling of being able to hear our voices come out of the structures was surreal.

The following workshop was my favorite one. We got to go out to Bexhill and forage items from the local area. We split into two teams and went off in different directions to see what we could find. All sorts of items were found, including half of a bed from which we used the bed frame and even a bag of hair extensions. I think the group’s favorite item was a more radio sign, featuring Tom, Lou, and Jack. The team I was on even went door knocking, we asked people if they had anything they were throwing away that we could have for an art project, and everyone was very generous. Once we finished collecting our parts, we headed back through the park with everything and back to the pavilion.

We then were invited in to help build the structures that were featured in the exhibition. We got to try a technique called Flint Knapping; the aim is to chip the flint to manipulate the material. Flint is a material prevalent in Bexhill, the walls that surround the train station are even adorned with it. These flints were used in the exhibition to look like the waves of the sea and the material has conations with rocks that lie on the beach.

Another session was looking into the architectural design and measurements of the objects we found. We took all our different objects, measured them, and used a ratio to scale the size down so we could sketch them. This helped us to understand the objects more as well as start to think about how they could fit together into one final piece.

For our final session with RESOLVE we gathered all the materials we had foraged and our architectural drawings. We considered the area and the Pavilion and decided to draw on Bexhill’s famed past association with motorcar racing. Using every item we had, we created a car. It was incredible to see objects as something different and learn to use tools to sculpt them into other forms. This final creation was fittingly made on the last day of the exhibition to drive us into the future!

Once the exhibition was opened, we ran two Pavilion Lates nights. One held by the students from Bexhill College, and one by us (The Blueprint Collective). Our one was called Beyond Bloom, and it was targeting young people to welcome them into the exhibition space. It was an evening of dreamy surrealness with some fun activities as well as live performances from Paris Blue and Loula. I even got to perform one of my own songs! It was fun, and special to be able to do it in the space we helped contribute to.

In conclusion, the work we did with RESOLVE was amazing. I think collectively as young people we all agree we have never had an opportunity like it and feel lucky and honored that we got to be part of such an incredible experience.

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Read more about The Blueprint Collective and their work here

To find out more about how join the group, please email dee.haughney@dlwp.com

 The De La Warr Pavilion announces a standstill award from Arts Council England of £517,785 per annum as part of their National Portfolio of organisations for 2023 -26.

The De La Warr Pavilion is delighted to announce that we have been selected as one of Arts Council England’s National Portfolio Organisations for 2023-26, along with other celebrated arts and cultural organisations across England. Considered “strong” on all ACE measures, this award represents a standstill in our funding and reflects the Arts Council’s continued belief in the Pavilion to make a difference through culture in our communities and beyond.

We would like to thank the Arts Council England and the National Lottery UK who, alongside Rother District Council, have supported us for many years, and in particular during the acute challenges of the pandemic. We will support Arts Council England to deliver their Let’s Create strategy, with the ambition that by 2030 England will be a country in which the creativity of each of us is valued and given the chance to flourish, and where everyone of us has access to a remarkable range of high-quality cultural experiences.

This funding will complement Arts Council’s recent award of £400,000 from their Capital Investment Fund towards a significant Auditorium Technical Upgrade – the first step towards securing further significant capital investment in the building. Read more here

In addition the Pavilion, in partnership with Artswork and Skills East Sussex, has received £196,000 for Talent Accelerator – a pioneering Skills programme that supports young people from areas of high deprivation, rurally-isolated locations and under-represented backgrounds to access and reach their potential within the creative industries. This is the spearhead of DLWPs emerging Skills programmes which include partnerships with Little Gate Farm and the Bexhill Jobs & Apprenticeships Fair to create new opportunities for young people.  Read more here

We are thrilled that our partners Outlands Network have also been welcomed into the Portfolio. Born out of an ACE Strategic Touring grant led by the De La Warr Pavilion, Outlands is an open membership network that supports and unites producers of experimental music and interdisciplinary performance across England.

We will continue to closely work with and support our many partners and networks within the region, some of whom have serious funding challenges ahead.  We will continue to :

• Work with our partners in Sidley to create new cultural opportunities for young people aged 10-16 in one of the top five deprived wards in the UK.
• Support artist networks through our strong partnership with Towner Eastbourne, Beeching Road Studios (Bexhill) and Flatland Projects to extend opportunities for emerging artists and curators in our area.
• Develop programming and new industry placements for skills development of young people with Eastbourne Winter Gardens.
• Attract funding to conserve the heritage of our unique Grade I Listed modernist building.

Stewart Drew, Director & CEO says,

“Thank you to Arts Council England for recognising the significance of the De La Warr Pavilion in bringing creativity and culture to communities in an area of high deprivation, and 420,000 visitors each year. It is brilliant to have the security of this standstill funding as we face new challenges with the cost of living crisis and energy costs.

As part of our bold vision as a flagship centre for arts and culture in our region, we will continue to deliver free exhibitions from major international artists, a varied live programme of 90+ performances a year, and a diverse programme of learning, participation and schools’ activities. Working with our partners that include the Refugee Buddy Project, Bexhill Museum, Heart of Sidley and Turner Prize nominated Project Art Works, we will co-create with our diverse communities to deliver meaningful creative engagement for young people, families and children, neurodiverse people, those with disabilities and people from low socioeconomic backgrounds.

Our continued support for Beeching Road Studios, Bexhill, and Flatland Projects will allow emerging artists and curators to thrive in the region, building a vibrant cultural economy, where young people will want to live and work.

Our ambitious music and comedy programme will continue to bring headline, international acts to Bexhill, and we will lead region-wide music development and skills initiatives with partners Create Music, Eastbourne Winter Garden, and #1066musiccity.

We are a catalyst for cultural regeneration, driving the cultural, tourism and economic health of the region by taking a lead within our networks, including Sussex Modern, 1066Country, Culture East Sussex and fulfil the potential of the region through Towner Eastbourne’s delivery of the Turner Prize 2023.

Our beautiful Grade I Listed building is at the heart of what we do. We continue to conserve and protect the important heritage of the Pavilion and develop a viable business model so that we can remain as a much-valued community asset for the next 85 years.”

Arts Council England Chair, Sir Nicholas Serota, said: “As well as continuing our commitment to our many established and renowned cultural organisations, I am deeply proud of the support we will be giving to those new organisations which will help ignite creativity across the country.  We are facing economic pressures at present but this funding is about an investment in our future. This portfolio will support the next generation of visionary inventors, makers, performers and artists. In particular, the growth of our funding for organisations that support and develop work for children represents a profoundly important long-term investment in our country’s talent.”

Arts Council England Chief Executive, Darren Henley, said: “Together, each of the 990 organisations that have been offered funding today will contribute to a portfolio that is rich, varied and truly national. This is our widest ever spread of investment across the country, ensuring that many more people will have access to a wider choice of exceptional art, culture and creative opportunities on their doorsteps. We are in tough times but we must remember creativity brings with it extraordinary dividends, boosting our country’s economic growth, creating jobs, bringing communities closer together, and making us happier as individuals. Everyone deserves to enjoy the benefits it brings, and with this investment, we believe we’ve taken a decisive step towards making that vision a reality.”

Culture Secretary Michelle Donelan said: “Thanks to this new government funding package, spreading more money to more communities than ever before, people living in areas from Wolverhampton to Wigan and Crawley to Chesterfield will now get to benefit from the deep economic and social rewards culture can bring.

“We continue to support our icons such as the Royal Philharmonic Orchestra and Royal Shakespeare Company, but today’s announcement will see organisations in places all too often overlooked get the support they need to transform access to the arts for everyone – no matter where they live.”

See more on Arts Council England’s 2023-26 Investment Programme on their website: www.artscouncil.org.uk/investment23

 

 

Two neuro-diverse young adults, Nat and Louis, gave local businesses a heart-warming insight into the vital role of supported employment at a seminar on Wednesday 12 October at the De La Warr Pavilion.

Each spoke enthusiastically about their work at Strive Café and Little Gate Farm, stressing how much it meant to them to be in paid employment and financially independent.

Hosted by Bexhill Chamber of Commerce, the Inclusive Employment seminar introduced local employers, particularly those facing recruitment challenges, to the untapped potential of a neurodiverse workforce.

Howard Martin, President, Bexhill Chamber of Commerce said: ‘The seminar was hugely informative, busted a lot of myths and really brought home the opportunity for local businesses of employing enthusiastic and skilled neuro-diverse young adults like Nat and Louis.’

          

At the seminar, Mary Briggs, Director of Strive Café, discussed how the café bridges the gap between college and employment, providing paid work for young people with learning disabilities and giving them the experience to go on and secure hospitality roles elsewhere. And Andrea Randall-Smith, CEO of Little Gate Farm, which finds paid jobs for neuro-diverse adults in a wide range of sectors, emphasised the care taken to match the right person to the right role and explained how job coaches provided by the charity smooth the experience for both the employee and employer.

With only 6% of people with learning disabilities in the UK currently in paid employment, Victoria Bevis, Legal Director of EMW Law LLP outlined the business case for inclusivity. While Stewart Drew, Director and CEO of the De La Warr Pavilion, impressed on the audience how employing two Little Gate Farm apprentices had been an enriching experience for the whole organisation and transformative in its approach to inclusivity.

           

Andrea Randall-Smith said: ‘This event means so much to local organisations like Strive Café and Little Gate and, most importantly, to those adults who need the paid employment. The impact of this type of work is huge – it reaches and supports locally but also impacts on a national level.’

The seminar photography was taken by Sam Kirimli, an award-winning photographer with autism whose work is exhibited and sold at Strive Café.

To find out more about the work of Little Gate Farm and Strive Cafe, explore www.littlegate.org.uk, www.strivecafe.org or pop into Strive Café on Sackville Road.

View a film about De La Warr Pavilion’s Little Gate Farm apprentices here.

The De La Warr Pavilion and Towner Eastbourne are thrilled to announce their collaboration in working together to programme holiday activities for families.

Between us we have selected four artists from East Sussex to deliver an artistic programme across both galleries, developing  their socially engaged practice across the current academic year.

They are Harry McMorrow (top left), Hannah Collisson (top right), Laura Ribbons (bottom left), and Lucie MacGregor (bottom right),

The artists are paired together to work as a duo. Workshops will  respond to themes in the exhibitions on display, which will include themes such as environmental concerns, queer and trans intimacies, anti-racist practices and migration. As well as delivering workshops, the four artists will be supported as a cohort with regular practice development sessions at each gallery. The research, both theory and practice based, undertaken by each will be shared and contribute to the overall learning.

At the end of the programme the  artists will lead an open workshop for artists reflecting on their experiences, as an evolution of the workshop Acts of Transfer: Sharing Social Practice, held at Towner Eastbourne in May ’22.

Hannah Collisson is a multi-disciplinary artist, facilitator, and musician based in St Leonards on Sea. Her work spans theatre, performance, poetry, music and photography. With a background in journalism, storytelling is a common thread running throughout Hannah’s work. She is fascinated by place making and stories told and untold. Hannah is a director of ExploreTheArch, a company which develops experiential theatre, site specific installations and community projects, and a director of Lifesize, a community arts CIC. She is a member of Babes in Arms, a collective of artist mothers, currently exhibiting at DLWP.

Lucie MacGregor is a multi-disciplinary artist, whose making spans the collective gesture as a notion to stir mindful collaboration, to facilitate social change and to consider conversation as creative material. Drawn towards recycling materials connected to her personal geographies, paper pulp has become a therapeutic and playful process for her to question the blurriness between drawing and sculpture. Lucie is currently facilitating workshops with young people at Camden Arts Centre, Drawing Room London and recent exhibitions include make 2022 at Freelands Foundation, a collaborative commission with The Children’s Art School in Kirklees and Deptford X Festival 2021

Harry McMorrow, (BA) is a non-binary queer artist living in St Leonards on Sea. They create tufted wall rugs usually focused around specific iconography and trends from the past. They are currently working on their first solo show, Come As You Are, which will be showing at Big Yin Gallery from November 4th. As well as being a practicing artist they are studying for their postgrad cert in education at University of Brighton. When not training to teach, or making art, they run a queer club night, Club FliQ.

Laura Ribbons (b.1990) is an artist, curator, educator and environmentalist. She graduated from Wimbledon College of Art in 2012 and also holds a Masters degreein environmental anthropology. She has exhibited across the UK and internationally, including in Spain, where she lived between 2018-2019. By exploring her fascination with plants and the ways in which we coexist with them, her bold, mixed-media paintings celebrate the resilience of plants and represent a desire to find solace and resolution in nature against the backdrop of the climate crisis. In 2022 Laura worked with Watts Gallery to co-create an outreach project around sustainability and this summer took part in Towner’s Open Plan residency. She currently lives and works in Hastings.

 

Developing approaches to equality, diversity, representation, and anti-racist practice in schools through arts, culture, and creativity.

The De La Warr Pavilion is thrilled to announce a major primary schools’ programme in partnership with Artswork. From October to January 2023 we are leading a Creative Development Network with seven local schools that will develop approaches to equality, diversity, representation, and anti-racist practice in schools through arts, culture and creativity. Schools taking part are All Saints CE in Sidley, Catsfield Church of England (VC), Chantry Community, Christ Church CE, Little Common, Polegate and St Peter & St Paul C E (VA).

We have  appointed Christina Peake as lead artist and Reem Acason as support artist to deliver this comprehensive and exciting new programme.

The programme has many aspects which include:

• Exhibition Visits by Year 5 or Year 4 students to the  Pavilion to engage with Zineb Sedira’s exhibition Can’t You See the Sea Changing?
• Art School Days with creative activities and learning led by the artists in each school.
• Teacher CPD Sessions, both online and at the De La Warr Pavilion
• Online Hub for the support of the network and the sharing of knowledge along this process.

The programme built by the artists develops learning through concepts and themes such as environment and identity, narrative and storytelling, temporal spaces, and the empathetic imaginary.

Christina Peake (on left of picture)  is a transdisciplinary artist and an AHRC Collaborative Doctoral Researcher with the University of Westminster and The National Archives. Christina’s fascination with cultures was nurtured by her Bajan and British parents who were adamant that she should know both sides of her heritage. This led to ‘home’ emerging across two-nation states, the Republic of Barbados and the U.K., visiting families and natural spaces that embodied those worlds to her as a child and cemented her interest in art, culture, heritage and nature as an adult and dual citizen.

Historically, this fascination was to become focused for her through three threads: cultural plurality, engaging the natural world and storytelling, which evolved to reflect a commitment to art, ecology, liberatory practices and the empowerment of ethically minoritised communities and practitioners. Christina’s practice is research-led, engaging communities and marine environments, with field-work informing a synergistic approach, sourcing material from autobiographical and individual testimony to historical narrative. Christina works to contribute to the formation of new eco-social assemblages through diverse media, emerging methodologies, colonial collections, community engagement and education, forming an expanding archipelago of works across her practice, creating new territories of immersive experiences, learning and radical imagination.’

Reem Acason’s  work explores the parallels and differences which exist across cultures. She is interested in folklore, family stories and people’s personal journeys through life. She references historical portraiture and iconography in her paintings then weaving in individual narratives and the symbolism of patterns, animals, motifs and popular culture. Reem was born in Bahrain and moved to the UK as a child and is currently based in Crowborough. She graduated in 2007 with a first-class degree in Fine Art and works as an artist and arts educator, including with those from under-represented and marginalised groups. She has exhibited widely in the UK and internationally, including twice at the Royal Academy Summer Exhibition. In 2021 she was shortlisted for the Ruth Borchard Self Portrait Prize. In the summer of 2022 she took part in the Open Plan residency programme at the Towner Gallery and have been selected for the ING Discerning Eye.

Image L to R : artists Christina Peake and Reem Acason

 

Sunday 6 November, 2022

BOOK HERE

Join us for a Sunday evening with Hastings-born Shirley Collins (MBE), for a very special show and a few Traditional Jack In The Green surprises…

Shirley’s love and support for the DLWP rings true as this is one of only two headline shows this year! We’re extremely proud to host a wonderful night of traditional folk, dancing and merriment with Shirley and the Traditional Jack In The Green team.

Shirley’s Lodestar Band comprise of Music Director, Ian Kearey (ex-Blue Aeroplanes and Oysterband), Pete Cooper and Dave Arthur (Rattle on the Stovepipe), Pip Barnes and of course her star dancer, Glen Redman, from Brighton Morris Men.

We were lucky enough to catch up with Shirley this week…

“This will be my second appearance at the De La Warr.

The first was well over fifty years ago! I think it was at a folk festival held there in 1965!

The poster for the event read:

The Waterson Quartets just back from their nationwide tour.

“(I think they’d just come down from Hull!)”

 Shirley Collins – England ‘s versatile young instrumentalist.

(I could just about play a dozen chords on the banjo!)

 Paul Simon – from Texas

(Yes! Bottom of the bill as it was most likely one of his first ever gigs in England as an unknown!)

 From 1978 – 1982 I lived in Bexhill around the corner in Sea Road, just two minutes from the beach; one of our favourite evenings was sitting on the terrace drinking G&T’s and watching the sun go down and the domes glowing in the evening light.

I used to run along the sea front every morning – and one day I saw a sign outside one of the premises in front of the De La Warr that read ‘Gypsy Anita Lee – Your fortunes told, your problems solved…I went in…and I’ll tell the full story of that during the concert on November 6th!!

It was from Bexhill in 1980 that I flew to Australia to sing at The Sydney Opera House.

And the last time I visited was in 2018 to hear Richard Thompson’s wonderful concert. Before then, I’d seen the Grayson Perry exhibition in 2008 and Antony Gormley’s installation on the roof in 2010. That last one made me feel very nervous!

Lots more tales to tell about Bexhill…but I’ll save them for November 6th!”

 

Biography

Born in Hastings in 1935, Shirley was fascinated by folk songs as she was growing up, songs she heard on the radio or sung by her grandparents in Anderson shelters. She left home for London to immerse herself in the burgeoning folk scene; at a party held by Ewan MacColl she met Alan Lomax, and in 1959 she joined him in the USA on the renowned field trip ‘Southern Journey’, recording American folk songs and blues, a formative journey for her personally and professionally.

On her return to England, Shirley cemented her role at the forefront of the Folk Revival, recording over a dozen albums including the influential Folk Roots, New Routes with avant-garde guitarist Davy Graham, and No Roses, from which The Albion Country Band was formed. However, in the 1980s, Shirley lost her singing voice – later diagnosed as a form of dysphonia – and withdrew from performing live. It was only in 2014, after coaxing from David Tibet (Current 93), that Shirley sang in public for the first time since 1982. Since then, she has produced two acclaimed albums for Domino Records, Lodestar and Heart’s Ease and performed live at a handful of important festivals with her Lodestar Band including Celtic Connections, Brighton Festival, Green Man, Cambridge Folk Festival, Copenhagen Documentary Festival, Supersonic, as well at major venues including The Barbican, Liverpool Philharmonic Hall and The Sage Gateshead.

Though Shirley Collins (MBE) was absent from the music scene for many years, her impact did not diminish, as the likes of Graham Coxon, Jonny Greenwood, Stewart Lee and Angel Olsen lauded her. A documentary The Ballad of Shirley Collins was released about her in Autumn 2017. She was given the ‘Good Tradition’ award at the BBC Radio 2 Folk Awards in 2008, elected President of the English Folk Dance & Song Society and was awarded an Honorary Doctorate in Music from Sussex University all in the same year. Shirley released her first memoir, America Over the Water, in 2004, (re-printed by White Rabbit in 2021) and has published her autobiography, All In The Downs (2018). Heart’s Ease was released by Domino in 2019, just as the COVID lockdown started, it has been toured very little and this will be a rare chance to hear some of that material live.

 

We are excited to announce Fran Painter-Fleming as the first DLWP x Flatland Projects Curatorial Fellow.

The joint programme with Flatland Projects at Beeching Road Studios provides a six-month programme for an emerging curator  to develop skills in curating and arts management through mentorship and practical exhibitions experience.  The fellowship offers the opportunity to craft a programme that fits with the Fellow’s interests and  supports their professional development in the best possible way.

Fran Painter-Fleming is a curator, writer and researcher based in London and was selected out of a highly competitive process of over 60 candidates.

Ben Urban, Co-director of Flatland Projects says:

‘Fran demonstrated a significant commitment to immerse herself into the vibrant artistic ecology which is emerging in Bexhill. As an arts organisation in our first 10 years of presenting contemporary art in East Sussex we cannot wait to both share our experience with Fran and learn from the exciting perspective she brings to the fellowship!’

Fran’s curatorial research delves into the entanglements of social memory, geopolitics, ecology and myth and her practice is grounded in slower methods of curating, collaborating with artists or fields of research over extended periods of time.  Shifting between exhibition making, residencies and public programming, her curatorial approach is somewhat fluid to meet the demands of each proposal.

Recent projects have included Re-Rooting: Mapping 30 Years of Cubitt at Cubitt Artists, an archival exhibition which examined the precarity of artist run spaces in the contemporary; hosting a Monica Sjöö summer reading group series at Beaconsfield Gallery which unpicked topics such as cosmology, queer activism and transnational feminism, and most recently, curating PORTALS, a workshop series at Chisenhale Studios, where different practitioners untangled the porous relationship between speculative fiction, art, and ecology.

During her fellowship, Fran is eager to extend these slower working patterns, bringing a long form commission into fruition at Flatland Projects and devising ways to  embed and engage with local audiences in Bexhill.

 

 

 

 

De La Warr Pavilion and Towner Eastbourne are working together to programme their holiday activities for families. We are collaborating to deliver an artistic programme for four East Sussex artists to develop their socially engaged practice across the current academic year.

Selected artists will be paired together to work as a duo. Each institution will work with two artists on site, and host regular practice development sessions. These two artists will deliver creative workshops at one location over four school holidays; Autumn school holiday, February school holiday, Spring school holiday and May school holiday. Workshops must respond to themes in the exhibitions on display, these will include themes such as environmental concerns, queer and trans intimacies, anti-racist practices and migration. As well as delivering workshops, the four artists will be supported as a cohort with regular practice development sessions at each institution. The research, both theory and practice based, undertaken by each will be shared and contribute to the overall learning.

At the end of the programme the four artists will lead an open workshop for artists reflecting on their experiences, as an evolution of the workshop Acts of Transfer: Sharing Social Practice, held at Towner Eastbourne in May ’22.

Who can apply?

• Artists based within East Sussex and  easy travelling distance who have experience or interest in socially engaged practice
• Artists who wish to plan and lead creative workshops to develop and enrich their practice
• Artists will apply individually with an understanding that they will be delivering workshop activities as a duo

Programme Offer:

• Artist Fee for each artist which covers cost of planning, preparing and delivering workshops during the specified four school holidays, and the final workshop for artist.
• Opportunity to work closely with leading cultural institutions over the course of an academic year
• Group sharing sessions around each holiday delivery to share learning and improve practice
• Opportunity to collaborate with other artists and make new work together
• Free use of space, materials and refreshments at each location for sharing and planning sessions
• Access to exhibition research material and staff expertise

How to Apply?

Please fill out this form

https://forms.gle/pWDJT7uCKTioEFe19 

Deadline for applications: Thursday 06 October 2022 at 5pm

Start date: 17 October 2022

Fee: Planning £140 per full day

Lead artist delivery £250 per full day, £140 ½ day

Support artist delivery £140 per full day

Artists will be expected to deliver 2 to 3 workshops in each academic break

For more information or support with applying for this role please email: dee.haughney@dlwp.com

It is with immense sadness that we received the news of the passing of Her Majesty Queen Elizabeth II. Our sincere condolences go to our President, the Queen Consort , and to all members of the Royal Family.

We pay tribute to Queen Elizabeth’s extraordinary service and duty to our country.

The Queen’s only visit to the De La Warr Pavilion was on 28 October, 1966 where she and Prince Philip were greeted by Bexhill dignitaries whilst the excited crowds gathered outside in the rain. In honour of the Royal couple, two spaces in the Pavilion were renamed after them. The Elizabeth Room enclosed the Sun Parlour, merging it with the Reading room and is now the seated area of the Cafe Bar, whilst  the Edinburgh Room  is now the First floor gallery.

As a mark of respect, the Pavilion will close to the on Monday 19 September for Queen Elizabeth II’s funeral.