Jamie Reid exhibition ‘A Lifetime of Radical Gestures’ to open at Enter Gallery.
5 April 2024 • Mark Westall
A Lifetime of Radical Gestures a reflective exhibition to honour the late Jamie Reid
Art News Brighton
Turner Prize winning artist Helen Cammock creates first public artwork for home town Brighton
17 April 2023 • Mark Westall
Brighton CCA has announced a new commission for summer 2023 – a major public artwork by Helen Cammock
Vivienne Dick – Red Moon Rising an exhibition in two parts.
24 February 2023 • Mark Westall
Red Moon Rising is the inaugural exhibition for John Marchant Gallery Brighton an exhibition in two parts by renowned Irish film-maker Vivienne Dick
Yewande 103 launches Fountain: Exploring the intersection and significance of water with Black histories and experience
10 August 2022 • Mark Westall
Inspirational dance company Yewande 103 announced today its new production and screendance Fountain, a compelling, first-of-its-kind new work created by… Read More
Brighton CCA announce two new immersive installations for 2022 by Lloyd Corporation
19 November 2021 • Mark Westall
Brighton CCA has announced a new exhibition for 2022 by Lloyd Corporation. The exhibition consists of two new immersive installations… Read More
WATCH: Matthew Barney: The Cremaster Cycle #IRL this weekend.
16 August 2021 • Mark Westall
This weekend Picturehouse Cinemas present Matthew Barney’s renowned The Cremaster Cycle. Made over eight years between 1994-2002, Barney’s series of five groundbreaking… Read More
Olafur Eliasson’s The Forked Forest Path in Brighton for Spring.
12 March 2021 • Mark Westall
In Spring 2021, Fabrica, Brighton’s Centre for Contemporary Art, will present ‘fairytale installation’, The Forked Forest Path by internationally renowned… Read More
Do Try This at Home
28 October 2020 • Paul Carey-Kent
For the ‘festival in a box’ – in Director Shoair Mavlain’s words – ‘the artworks travelled to people’s homes, classrooms and community spaces’, so eliminating the reliance on personal travel ‘which itself relies on economic privilege’ and allowing the viewer to ‘become the curator’ by choosing how to hang the work.