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2024 - A NEW VENUE

This October see's us takeover the top floor of The Marine Workshops in Newhaven, with the support of Creative Newhaven, and Lewes District Council. We can't wait to transform the space into an exhibition to remember.



The Sussex Contemporary OPEN CALL 2024 is open to artists that:

·     were born in Sussex (UK), or

·      live/work in Sussex (UK),

·      or that were educated in Sussex (UK).


The Sussex Contemporary is open to all artists at any stage of their career be that professional or amateur.






We have been offered exhibition space at the Marine Workshops in Newhaven. Having seen the amazing space (and views), last week I recommend that we have our winter exhibition there. It is the same venue as the Sussex Contemporary exhibition.


The venue is free to us as we are a local Arts School.

I will discuss with all during workshops.

Photos below are of the Marine Workshop building and the space available to us. The Sussex Contemporary exhibition will be in the same space just before our own Brasspoint winter exhibition.


28 September 2023 – 14 April 2024 /



The four artists who have been shortlisted for

the Turner Prize 2023:

Jesse Darling

Ghislaine Leung

Rory Pilgrim

Barbara Walker


An exhibition of their work will be held at Towner Eastbourne, East Sussex, from 28 September 2023 to 14 April 2024 as a major moment in the gallery’s centenary celebrations.


The winner will be announced on 5 December 2023 at an award ceremony in Eastbourne’s Winter Gardens.

Jesse Darling 

Jesse Darling

Nominated for his solo exhibitions No Medals, No Ribbons at Modern Art Oxford and Enclosures at Camden Art Centre. Darling’s work encompasses sculptures and installations which evoke the vulnerability of the human body and the precariousness of power structures. The jury was struck by Darling’s ability to manipulate materials in ways that skillfully express the messy reality of life. They felt that these exhibitions revealed the breadth and integrity of Darling’s practice, exposing the world’s underlying fragility and refusing to make oneself appear legible and functioning to others.

No Medals, No Ribbons

Ghislaine Leung

Fountains at Simian

Ghislaine Leung

Nominated for her solo exhibition Fountains at Simian, Copenhagen. Leung’s work takes the form of ‘scores’ – sets of instructions which test the boundaries of the gallery space. Baby monitors, child safety gates, inflatable structures, toys, and water fountains are used to turn the exhibition structure on its head, asking questions about time, leisure, and labour. The jury particularly commended the warm, humorous, and transcendental qualities that lay behind the sleek aesthetic and conceptual nature of Leung’s work, as well as her commitment to challenging the way art is produced and circulated.

Rory Pilgrim

Rory Pilgrim

Nominated for the commission RAFTS at Serpentine and Barking Town Hall, and a live performance of the work at Cadogan Hall, London. Pilgrim’s work interweaves stories, poems, music and film, created in collaboration with local communities in the borough of Barking and Dagenham, to reflect on times of change and struggle during the pandemic. The jury praised the project as a standout example of social practice. They felt that Pilgrim’s beautiful and affecting musical arrangements gave light to their collaborators’ voices and that the confidence and vulnerability of the performance reflected the strength of the relationship between artist and community.

Barbara Walker

Barbara Walker

Nominated for her presentation entitled Burden of Proof at Sharjah Biennial 15. With a practice that interrogates past and present issues of racial identity, exclusion and power, Walker’s presentation explores the impact of the Windrush scandal, underlaying figurative drawn portraits with facsimiles of the documentation these individuals had to produce to prove their right to remain. The jury applauded Walker’s ability to use portraits of monumental scale to tell stories of a similarly monumental nature, whilst maintaining a profound tenderness and intimacy across the full scope of her work.


18 November 2023 – 3 March 2024 /


Organised by The Hepworth Wakefield in collaboration with Hastings Contemporary and Kistefos Museum, Norway.

This coming autumn, Hastings Contemporary will present a major solo exhibition of paintings and drawings by Hurvin Anderson, including new works. The exhibition will focus on Anderson’s Barbershop series as a lens through which to understand Anderson’s wider practice and unique sense of history, memory and place.


Anderson first painted a Birmingham-based barbershop in 2006. For more than 15 years, Anderson has repeatedly reworked the same barbershop in a multitude of ways to experiment with key concerns in modern and contemporary painting, such as the tension between abstraction and figuration, and the painterly possibilities of capturing memories and experiences.


By deconstructing and recreating the scene with objects derived from photographic documentation, Anderson explores the resonance of an image, raising questions about seeing, history, authenticity and the nature of experience.

To reveal Anderson’s creative process, a section of the exhibition will evoke his studio, displaying the sketches and drawings from his planning stages, 3D models he has made of the barbershop, and objects and archival material he has sourced to reconstruct the scene.

The exhibition will present the most comprehensive presentation of the Barbershop series, from the very first painting and initial studio drawings made in 2006 to a new large-scale drawing and new painting begun in 2022, which will be the largest and final works in the Barbershop series. On display will be some of the most political works within this series, such as Is it OK to be Black?


2015, which was a 70th Anniversary Commission for the Arts Council Collection with New Art Exchange, Nottingham and Thomas Dane Gallery. This work includes depictions of significant figures in the Civil Rights movement, Martin Luther King and Malcolm X, whose ideas and legacy remain important in the wake of the Black Lives Matter movement. The title responds to a mis-hearing of the typical barbershop question ‘is it ok at the back?’ and highlights the underlying social context of the barbershop.

Anderson was born in Birmingham in 1965 to Jamaican parents. He completed his BA at the Wimbledon School of Art in 1994, before receiving his MA from London’s Royal College of Art in 1998. Anderson was shortlisted for the Turner Prize in 2017 and his work is represented in public collections around the UK, USA and Europe.

A new book, edited by Eleanor Clayton and published by The Hepworth Wakefield, will accompany the exhibition.

The exhibition will open at The Hepworth Wakefield this summer (26 May – 5 November 2023) and after its stop at Hastings Contemporary will then travel to Kistefos Museum, Norway for spring / summer 2024.

Supported by Richard and Debbi Burston, Clore Wyndham, Thomas Dane Gallery and Michael Werner Gallery.

Image credit: Hurvin Anderson, Flat Top, 2008. © Hurvin Anderson. Courtesy the artist and Thomas Dane Gallery. Photo: Hugh Kelly



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