Welsh artist Cerith Wyn Evans calls his exhibition at Bexhill’s De La Warr Pavilion “a love letter to the building”.

For the series of installations he has taken over both gallery spaces and the roof-terrace to invite in all the building’s natural light.

The aim is to consider themes about manmade and natural light, and respond to the building’s architecture.

It contrasts with Evans’s earlier career when he worked as a film-maker and assistant to Derek Jarman and collaborated on videos for The Smiths, The Fall and Throbbing Gristle.

Before the final weekend of his latest show, those two worlds will collide at We Can Elude Control – an experimental music all-dayer that will look at the connections between sound and art in a gallery context.

The free event has been curated by Paul Purgas (one half of the experimental electronics project Emptyset), who was once based at Arnolfini Gallery in Bristol, where We Can Elude Control’s seeds were first sown in 2009.

“My passion is looking at how the worlds of electronic music and art can connect more coherently rather than sound and music being an add-on to art.

“Cerith has a background of connecting electronic music with his artwork. He has already connected to Throbbing Gristle and done a performance with Russell Haswell. The project is looking at his approach and expanding on that.”

Purgas was behind a project at Tate Britain about British art from 1914 to 1945. He studied the Vorticists and how the lineage of radical British thinking has continued to modern musicians, film-makers and artists.

Other projects include putting a giant soundsystem in a multi-storey car park in Peckham.

For the De La Warr Pavilion, a place with “such an important history in terms of representing a radical spirit in Britain”, Chris Carter and Cosey Fanni Tutti will present a live remix of Throbbing Gristle’s reinterpretation of Nico’s Desertshore (originally released as a limited run four years ago as The Desertshore Installation).

As well as Carter and Tutti from Throbbing Gristle, plus the cult conceptual and audio artist Haswell, Purgas has invited Nicholas Bullen from Napalm Death to create a show.

“He is a fascinating character. He was originally the vocalist with Napalm Death but has since moved into critical art writing and improvised music.

“He has recently collaborated with Mark Titchner, who was nominated for the Turner Prize in 2006.

“In many ways Napalm Death have had a very instrumental underground relationship with British art and have crossed over between the outer fields of performance and art practice and music.”

Bullen usually does performances working with his voice but for the first time he is going to be doing an analogue tape experiment using 8mm footage he has filmed.

There will be a series of performances within Wyn Evans’s S=U=P=E=R= S=T=R=U=C=T=U=R=E light and heat installation.

One will be Ekoplekz, who is part of the Bristol dubstep and bass music community but started out working with improvised electronics, customised hardware and guitar effects pedals.

“He has just done a record for Editions Mago, a Viennese label which is one of the most important labels in contemporary electronic music,” explains Purgas.

Shelley Parker will stream a live audio feed from Beachy Head in her set, which will be part of the soundsystem on the roof.

“She has long had an interest in doing something around Beachy Head, so when this project came up, with Cerith’s sculpture on the roof and being able to see Beachy Head from there, it seemed like the perfect marriage.”

The Barcelona-based sound-art collective EVOL, who produce what they describe as “computer music for hooligans”, will also perform a rare set.

“A lot of their grammar is plugged into hooligan culture or makes a head-nod to it – you know, horns from football matches – but their role is more as aggravators for the conservatism of contemporary music.

“They feel very far removed from the jazzy end of contemporary music; they are the antithesis of that.”

* Starts 3pm, free. Call 01424 229111