Left image: Poster for the Second Poetry Encounter, Arab Cultural Club, Beirut 1974. Designed by Helmi el-Touni. Reproduced from the collection of A. Bou Jawdeh. Right image: Céline Condorelli After Image (Gray and Bayer), 2015 Installation view, Kate Macgarry Gallery, London, 2016 Courtesy of the artist and Kate Macgarry, London.
The starting point for this event is the De La Warr Pavilion’s current exhibition The New Line: Works from the Jobbing Printing Collection. Through 1930s commercial print, the exhibition shows how the movement of people, often escaping oppressive political regimes, contributed to the development of new social and political ideas expressed through design. Like the De La Warr Pavilion itself, The New Line shows the interconnectedness of art, ideology, design and industry throughout the 1930s. The New Line features works by over fifty artists including Laszlo Moholy-Nagy, Edward McKnight Kauffer, Serge Chermayeff and Len Lye.
- 2.30-3.30pm: Short talks by each participant
- 3.30-4pm: Exhibition tour
- 4-5pm: Chaired panel discussion with all participants, including time for audience Q&A
Céline Condorelli, Conversation Piece, 2016 Installation view, MASP (Museu de Arte de São Paulo), Brazil Photograph by Eduardo Ortega
is a London-based artist, and one of the founding directors of Eastside Projects, Birmingham, UK. she made the book Support Structures (Sternberg Press, 2009) and is currently Professor at NABA (Nuova Accademia di Belle Arti). Condorelli combines a number of approaches from developing structures for ‘supporting’ (the work of others, forms of political imaginary, existing and fictional realities) to broader enquiries into forms of commonality and discursive sites.
Recent exhibitions include bau bau, HangarBicocca, Milan, IT (2015), Céline Condorelli, Chisenhale Gallery, UK, Positions, Van Abbemuseum, NL, and baubau, Museum of Contemporary Art, Leipzig, DE (all 2014), and curating Puppet Show, Eastside Projects (2013).
is Professor of History of Design at the University of Brighton where he leads the Internationalising Design History research cluster. He has written and curated exhibitions about twentieth-century design with an emphasis on graphic design. His publications include Graphic Design in Germany, 1890-1945, (Thames and Hudson, 2000) and Designing Modern Germany, (Reaktion, 2009). He is currently working on an exhibition of the work of Austrian poster designer Julius Klinger for the Wolfsonian, Florida International University. Jeremy is also currently chair of the Design History Society http://www.designhistorysociety.org/.
is an archivist and a researcher in archive studies and in twentieth century art and design history. She joined the Design Archives in 2009, after working extensively in visual arts archives, largely in national museums and galleries, including as head of Tate Archive and as War Artists Archivist and Museum Archivist at the Imperial War Museum. She was also the first Company Archivist at Marks and Spencer plc. Recent publications include editing a special issue of the journal Archives & Records on the subject of the visual arts archive, and research on the design advocacy of the art historian Kenneth Clark (Lord Clark of Saltwood).
is a historian and deputy curator of the University of Brighton Design Archives, where her research interest in the material environment has resulted in a range of publications on the early Design Council, and the mid-century emergence of the British design profession, including the arrival and absorption of a rich seam of émigré talent. She is one of the founding team at Brighton and contributes to the promotion of its twenty collections, and the facilitation of enquiry by home-grown and visiting scholars. In 2016 she curated the exhibition Design Research and its Participants to accompany the fiftieth anniversary conference of the Design Research Society.
is a lecturer in the School of Humanities at the University of Brighton, UK. Her research probes the intersection of graphic design with politics in modern everyday visual and material culture. She is the author of the book Off the Wall: Political Posters of the Lebanese Civil War (IB Tauris, 2009), curator of related travelling exhibitions and online open archival resource (www.signsoconflict.org). Her more recent work looks into transnational circuits of aesthetic modernism in the Arab world, analysing their entanglement with processes of decolonization in an emerging global Cold War order.
Organised as a collaboration between Brighton University’s Internationalising Design History research cluster, Brighton University Design Archives and De La Warr Pavilion.
Pages from the book series The History of Arabs and Muslims for Youth, 1977, Beirut Arab Institute for Research and Publishing. Designed and illustrated by Helmi el-Touni. Reproduced from the collection of A. Bou Jawdeh.
Please note that Booking Fees apply on the following transactions:
Online: £1 per ticket + £1.50 postage or free collection at the Box Office
Telephone: £2 per transaction + £1.50 postage or free collection at the Box Office
In Person: Free
- By Rail
Direct trains go from London Victoria, Brighton and Ashford to Bexhill.
There are also trains from London Charing Cross, changing at St. Leonards Warrior Square and from London Bridge or Charing Cross going to Battle. Battle is only a short taxi journey away (15 mins approx).
Visit www.nationalrail.co.uk for up-to-date train travel information.
Town Taxis: 01424 211 511
Parkhurst Taxis: 01424 733 456
- By Car
If driving from the London area:
Take the M25, then A21 to Hastings. Turn off at John‘s Cross and follow the signs to Bexhill.
Take the A22 to Eastbourne, go across the Bishop roundabout to the A271 and follow the signs to Bexhill and the seafront. The De La Warr Pavilion is on the Marina.
From the Brighton area:
Follow the A27 out of Brighton until you arrive in Bexhill On Sea.
Please be aware the Rother District car park outside the De La Warr Pavilion operates paid parking until 8pm. After this time parking is free. There is also lmiited free car parking along the seafront.