• De La Warr Pavilion, Bexhill-On-Sea, Photography: Burst Photos

  • De La Warr Pavilion, Bexhill-On-Sea, Photography: Burst Photos

  • De La Warr Pavilion, Bexhill-On-Sea, Photography: Burst Photos

  • De La Warr Pavilion, Bexhill-On-Sea, Photography: Burst Photos

  • De La Warr Pavilion, Bexhill-On-Sea, Photography: Burst Photos

DLWP warmly invite you to join us on Saturday 22 June to celebrate the opening of our two new exhibitions for Summer 2024:

Barbara Kasten: Site Lines
Rebecca Bellantoni: Day and heavy, Judah leaves


TIMINGS:

4pm: Drinks on arrival
5pm: Welcome and speeches
6.30pm: Event ends

Everyone is welcome! RSVP here.


ABOUT THE EXHIBITION:

BARBARA KASTEN: SITE LINES
Saturday 22 June 2024 –Sunday 1 September 2024

De La Warr Pavilion is pleased to host the first institutional solo exhibition in the UK of artist Barbara Kasten, presenting a major new site-specific commission in our Ground floor gallery this summer.

Since the 1970s, Kasten (b. 1936, United States) has been constructing expansive installations made of architectural ‘props’ such as glass, mirrors, metal, or wood constructions in front of the camera for her abstract ‘photographs’. Space as a stage of a changing reality is the central motif of her photographs, film, and sculptural installations, which she produces in an ‘interdisciplinary performance’ between photography, sculpture, architecture, and painting. These theatrical arrangements are notable for their use of colour, light and shadow, an approach going back to Kasten’s roots as a painter and sculptor.

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REBECCA BELLANTONI: DAY AND HEAVY, JUDAH LEAVES
Saturday 22 June 2024 –Sunday 1 September 2024

De La Warr Pavilion is pleased to present the first institutional solo exhibition of London-based artist, Rebecca Bellantoni, comprising a new body of work in our First floor gallery.

Working with moving image, installation, performance, photography, textiles, printmaking, sculpture, sound-text, and ceramics, Bellantoni (b. 1981, UK) draws from everyday occurrences and abstracts them. Through investigations into the layered lens of Black women’s writing (fiction and nonfiction), metaphysics, philosophy, religion and spirituality, geography and the aesthetics of them, Bellantoni gently prises apart the concept of the accepted/expected ‘real’ and the experiential ‘real’, looking at how these removed borders may offer meditative experiences and portals to self, collective reasoning and healing thought and action.

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