Tag: art

Pomegranates Festival programme announced

FULL PROGRAMME ANNOUNCED – 25-30 April 2025

The Traditional Dance Forum of Scotland is delighted to announce full details of its fourth Pomegranates Festival which will run from Friday 25 to Wednesday 30 April 2025 at various venues across Edinburgh. 

The Pomegranates Festival in partnership with TRACS (Traditional Arts and Culture Scotland) and Moray House School of Education and Sport, at the University of Edinburgh celebrates Scottish traditional dance alongside world traditional dance practised by New Scots and cultural migrant communities across Scotland.

It is supported by Creative Scotland and includes exhibitions, ceilidhs, workshops, walking tours, and talks about traditional dance from Scotland and around the world. Every year the Pomegranates Festival explores the intrinsic links of traditional dance with live music, film, fashion, poetry, art and heritage craft. 

This year’s festival theme is masks invitingfestival-goers to experience the power of masks used in different traditions; and reflect on the significance, beauty and mystery of masks and mask-making in traditional dance from antiquity to modern days. 

The festival opens on Friday 25 April with a packed programme of short films of traditional dance followed by a Q&A with featured creatives, including the award-winning filmmakers Marlene Millar and Mare Tralla. Marlene’s films include To Begin the Dance Once More(2023) which tells the story of displacement and water crisis reimagined through the mythological world by three climate refugees from Scotland and Egypt; and Bhairava (2018) filmed on location in India which evokes Shiva, the Lord of Dance as both the destroyer of evil driving out terrible deeds, and the guardian of time.

Also screening is Mare Tralla’s new screen dance The Bright Fabric of Life (2024) which tenderly addresses the life-altering injuries sustained by women in labour, told using traditional African dance and music; Home (2023, Dir. Kes Tagney) which explores the deep connection people have for the place they call home featuring Scottish Step dancer Sophie Stephenson;Crowned by Flame (2024, Dir. Lyuxian Yu) about the Chinese Yi ethnic community’s Cigarette Box dance; Armea (2024. Dir. Letila Mitchell)which chronicles the homecoming of the dancers and musicians of the Pacific island of Rotuma; On Canada Day(2024, Dir. Gurdeep Pandher) reflecting on Canada’s past through a dance fusion of Punjabi and Celtic traditions; and Autocorrect (2022, Dir. Jonzi D) inspired by the COVID-19 face masks, set to the spoken word of Saul Williams and commissioned by Sadler’s Wells.

Hip-hop dance theatre artist, choreographer and dancer Jonzi D returns to the festival as this year’s choreographer-in-residence and will be working with traditional dance artists based in Scotland to create this year’s masked festival finale Hidden Faces which will premiere on the International Day of Dance (29 April 2025).

Other highlights include:

●     The premiere sharing of not for glory – a skirling new dance-theatre performance of bodies and bagpipes, and rebellious unravelling of traditional dance and music by Jack Anderson, Charlotte Mclean and in collaboration with musician Malin Lewis.

●     The premiere sharing of Sequins – a new hip hop dance theatre solo show by Kalubi Mukangela-Jacoby set to the Pomegranates Festival spoken word commission of Sequins of Poems to Dance To by Ian McMillan.

●     An evening of poetry, dance and discussion focusing on Intangible Cultural Heritage and its relationship with Scottish traditional dance.

●     A new exhibition of masks (3 Apr-12 May) by Pomegranates Festival artist-in-residence Lorraine Pritchard – anEdinburgh-based mask maker, costume-designer and fashion model, plus the only Scottish artist performing at the Venice Carnival 2025. Lorraine’s first solo exhibition, especially curated for the festival, zooms on the relationship between the heritage craft of mask-making and traditional dance and features masks, photographs, films and books, including Lorraine’s new Venetian Carnival masks which ahead of the exhibition will be premiered and modelled by the artist at this year’s Carnevale in Venice 21 February – 4 March. 

●     A day of walking tours led by dance historians Alena Shmakova and Agnes Ness about the role of women in traditional dance past and present, with focus on the role of Mary, Queen of Scots.

●     A dance theatre matinee which is the culmination of Pomegranates dance artists-in-residence at Edinburgh’s Abbeyhill and Royal Mile Primary Schools. Over 20 resident dancers – all postgraduate students in Dance Science and Education at the University of Edinburgh will perform alongside the Scot Polish musician-in-residence Aga Idczak. The choreography of the Scot Cypriot artist Sotirios Panagoulias and the costume design by the New York born Scot Polish designer Gerry Gapinski are co-created with over fifty pupils aged 10-11 years. The matinee is the outcome of an unique co-devising method of Socratic Circles, weaving in the children’s ideas, drawings and poems about the wee objects selected by each pupil to represent their diverse heritage.

In the lead up to the start of the festival there will also be a podcast released on 8 March to celebrate International Women’s Day, previewing the story of Mary, Queen of Scots in Edinburgh and her passion for dance, with New Scot Alena Shmakova.

Plus, there will be a Ceilidh Plus mixing Scottish, Bulgarian and Irish traditional dancing on 21 March to celebrate 10 years of the Bulgarian traditional dance school in Edinburgh and St Patrick’s Day on 17 March.

This popular event is part of the festival’s year-round programme of Ceilidh Plus evenings held at the Kings Hall that combine Scottish dancing with traditional dances from the migrant and diaspora communities in Scotland.

During the festival the Ceilidh Plus event will showcase a mix of Scottish, Polish and Hungarian dance styles. 

All festival events are presented on a free or affordable ‘pay what you can‘ basis.

Wendy Timmons and Iliyana Nedkova, Festival Co-curators said: “In 2025 when we celebrate Edinburgh’s 900 years journey from the 12th Century City of David to the 21st City of Diversity, we are very proud to present the fourth edition of Pomegranates – Edinburgh’s festival of diversity in traditional dance, the festival that has already made it to the #ListHot100 as one of the 100 most influential cultural events of the year.

“Expect a flair of mystery as this year our festival artists will don their dance masks and take on whole new personalities honouring their traditions and our global living heritage.”

John Ravenscroft, Head of the Centre for Research in Education, Inclusion and Diversity (CREID) at Moray House School of Education and Sport, University of Edinburgh said: “I am very pleased to continue to forge our strategic academic partnership with the Traditional Dance Forum of Scotland which dates back to 2018. Great to see the return of the Pomegranates Festival choreographer-in-residence Jonzi D who delivered the seminal Decolonising the Curriculum keynote lecture at Moray House School of Education and Sport as part of last year’s festival.

“I am also excited about the opening matinee which is part of the wider campaign advocating for the diverse forms of world traditional dance becoming a primary ingredient of our children’s primary education.

“This campaign is run by the Traditional Dance Forum of Scotland in conjunction with our Centre and our School while the matinee is funded by the University of Edinburgh through the Edinburgh Local Community Fund.” 

MC, Jonzi D, hip hop dance theatre artist and choreographer-in-residence at this year’s Festival, said: “Following my Pomegranates festival debut last year, I am really honoured to be invited back as this year’s choreographer-in-residence, plus I am particularly partial to the new festival theme of masks. 

“Traditional dance is important, including masked dance, because it represents living heritage while celebrating difference. I think we’ve reached a period in society where our differences are being used against us; our differences are being used to keep us separated; our differences are being used as judgmental tools. Manufactured polarisation. But our infinite differences define our identities, and still we have more in common than we have apart. Pomegranates festival celebrates our differences.”

Vanessa Boyd, Interim Head of Dance at Creative Scotland says: “Pomegranates Festival continues to be an important platform celebrating Scotland’s rich traditional dance heritage alongside the diverse influences that shape our communities today.

“This year’s focus on masks highlights a powerful symbol that has been used in dance for centuries, transforming performers and deepening storytelling across cultures.

“Audiences can look forward to experiencing new work and exploring the rich and diverse traditional dance forms that the Pomegranates Festival has to offer across a packed programme of live performance, screen, workshops and community gatherings.”  

The Pomegranates Festival (25 – 30 Apr) is the annual platform for the diverse 250+ individual and organisational members of the Traditional Dance Forum of Scotland to teach, learn and perform in new dance theatre and screen dance shows, as well as new productions and residencies.

This is the fourth edition of Scotland’s annual festival of international traditional dance, initiated, curated and produced by the Traditional DanceForum of Scotland.

It is presented in partnership with TRACS (Traditional Arts and Culture Scotland), Moray House School of Education and Sport, University of Edinburgh, Edinburgh Central Library, Dance Base and the Scottish Storytelling Centre.

In 2025 the Pomegranates Festival is funded by Creative Scotland Multi-Year Funding through TRACS (Traditional Arts and Culture Scotland); the City of Edinburgh Council and University of Edinburgh through the Edinburgh Local Community Fund. 

For tickets and more information visit https://www.tdfs.org/pomegranates/

Between Women: Travelling Gallery returns with new exhibition

Travelling Gallery

Travelling Gallery is delighted to be partnering with the University of St Andrews this February to present the exhibition Between Women.

The exhibition features the work of Franki Raffles, Sylvia Grace Borda, Sandra George, Carolyn Scott and Niu Weiyu.

Between Women takes images made by the photographer Franki Raffles from her base in Edinburgh during the 1980s and 1990s as a starting point to explore relationships between gender, labour, education, care and activism in documentary photography since the 1950s in Scotland and internationally. Raffles’ photographs will appear alongside images by Sylvia Grace Borda, Sandra George, Carolyn Scott and Niu Weiyu which together illuminate how gender is produced and reproduced through workplaces, housing, healthcare, and particularly schools, playgrounds and nurseries, across urban and rural landscapes.

In examining the relationships and power structures between women, this exhibition takes inspiration from two projects by Raffles. The first is a trip Raffles made in 1984–85 to the Soviet Union and Asia, including an extended period in China, during which her concern with women at work crystallised.

The second, Picturing Women, was part of a 1988–89 educational initiative organised by Stills Gallery, Edinburgh, aimed at helping young people analyse photographs, for which Raffles studied the working relationships between women at a school. These two projects provide a framework through which connections and comparisons with Niu Weiyu, Carolyn Scott, Sandra George and Sylvia Grace Borda’s photographs emerge.

One of the few women photographers to gain professional recognition in twentieth-century China, Niu worked for state-run media organisations and produced a large number of photographs that portray women’s roles as workers throughout the 1950s, 1960s and 1970s.

Carolyn Scott’s documentary photographs images of children and families in Newcastle’s Rye Hill area where she lived between 1967-68 observe the relationships and socialisation forged through play, but also the effects of deindustrialisation on the community.

Sandra George’s photographs of Edinburgh during the 1980s and 1990s attest to the importance of community educational groups and spaces in activism and organising, alongside public demonstrations and gatherings.

Sylvia Grace Borda’s studies of schools, leisure centres and nurseries in the New Town of East Kilbride reflect on the complex legacies of post-1945 Welfare State architecture from the perspective of the early 2000s.

Together, these photographs highlight the possibilities for solidarity between women in sites and spaces spanning the local and the global, but also the importance of recognising differences and intersectional identities that account for the constructs of gender, sexuality, race, disability and class in activism and organising.

Launching in Edinburgh at the Community Wellbeing Centre on Monday 17 February from 11am to 5pm, the exhibition will tour throughout the week visiting the following locations:

  • Tuesday 18 February, 10am – 4pm – Glasgow Women’s Library
  • Wednesday 19 February, 10am – 4pm – Dundee International Women’s Centre
  • Thursday 20 February, 10am – 4pm – Fluthers Car Park, Cupar
  • Friday 21 February, 10am – 4pm – East Sands Leisure Centre, St Andrews

Between Women is curated by Vivian K. Sheng and Catherine Spencer, with support from the University of St Andrews Impact and Innovation Fund.

Culture and Communities Convener, Councillor Val Walker said: “It’s brilliant to see the Travelling Gallery return for 2025.

“It’s crucial that art and culture is as accessible to as many people as possible. I’m proud that through our ongoing support of the Travelling Gallery, and the recent increased Creative Scotland investment, art is brought straight into the hearts of towns and cities across Scotland. I hope everyone takes the opportunity to visit the exhibition, bringing together work which illuminates how gender is produced and reproduced through workplaces.

“Here in Edinburgh, we’re clear that that our residents should be able to easily access a variety of cultural activities, and this exhibition brings art closer to people’s communities.”

Louise Briggs, Curator, Travelling Gallery said: “We’re delighted to be working with Vivian, Catherine, and the University of St Andrews to present this exhibition.

“We’re looking forward to discussing the work of each artist with our visitors, who we believe will have their own stories and experiences to share that chime with many of the references (and local sites) found in the work on display.”

With thanks to the University of St Andrews Libraries and Museums, Edinburgh Napier University, Franki Raffles Estate, Craigmillar Now, Gaofan Photography Museum, Sylvia Grace Borda and Carolyn Scott.

Travelling Gallery is a contemporary art gallery in a bus. Since 1978 it has been bringing exhibitions to communities throughout Scotland. We recognise that art can change lives and we create fair conditions and remove barriers to allow access and engagement to audiences in their own familiar surroundings.

The gallery space offers an open and welcoming environment for people of all ages, backgrounds, and abilities to discover and enjoy contemporary art. Over the past forty years, Travelling Gallery has brought innovative exhibitions to every part of Scotland reaching hundreds of thousands of visitors and school pupils.

Travelling Gallery is a ‘not for profit’ organisation, regularly funded by Creative Scotland and supported by the City of Edinburgh Council.

For more information, please vist the Travelling Gallery website.        

The gallery has ramp access for wheelchairs; hearing loop and will have large print format exhibition interpretation.

Artist Biographies

Sylvia Grace Borda is an artist working with photography, net art, video installation, and eco-art, who has undertaken projects in Canada, Finland, Northern Ireland, Latvia, Scotland, Ethiopia and Taiwan. Her artwork is concerned with establishing systems of public understanding that underpin literacy, advocacy, and action to conserve the built and natural environments. In Scotland, she focused on New Town architecture in EK Modernism (2005–10) and A Holiday in Glenrothes (2008), and created an edible photo artwork, the Lumsden Biscuit (2016–17). Her roles at Queen’s University Belfast (2008–10); University of Salford (2011), and University of Stirling (2012–15) have focused on visual arts and social histories, digital engagement and innovation. In 2023, she received the Mozilla Foundation Rise 25 award in recognition of her transformative media arts practice to democratize the web for communities. Exhibitions include National Galleries of Scotland, RIAS, Street Level Photoworks, and The Lighthouse, Glasgow.

Sandra George (1957–2013) was an Edinburgh-based social documentary photographer, multi-disciplinary artist, and a community worker in Craigmillar. George studied Photography at Napier University, Drawing and Painting at Edinburgh College of Art, and Community Education at The University of Edinburgh. For over 30 years she worked extensively as a freelance photographer for organisations and publications including the Sentinel, Tollcross Community Newspaper, Shelter, Craigmillar Festival News, and Craigmillar Chronicle, and taught photography and art to communities across Edinburgh. She started working in community development in Wester Hailes in the 1980s, and in Craigmillar from the 1990s, and was an integral member of initiatives including McGovan house, the Thistle Foundation, and the Craigmillar Arts Centre. Alongside a commitment to community work, anti-racism and social justice, George’s photographs document children at play and their educational and leisure environments. George’s archive is held at Craigmillar Now, a community-led arts and heritage organisation in Craigmillar.

Franki Raffles (1955–1994) was a feminist photographer specialising in social documentary. Raffles studied philosophy at the University of St Andrews from 1973–1977, where she was an active member of the Women’s Liberation Movement. After experimenting with photography while living on the Isle of Lewis, she moved to Edinburgh in 1983, and started documenting women at work, as well as organising and campaigning. Raffles frequently collaborated with Edinburgh District Council’s Women’s Committee, including on the project To Let You Understand: Women’s Working Lives in Edinburgh (1989) Zero Tolerance campaign against domestic violence in the early 1990s. She travelled widely throughout her career, including extended trips to Asia and the Soviet Union. Raffles’ work is currently the focus of a major exhibition Franki Raffles: Photography, Activism, Campaign Works at BALTIC Centre for Contemporary Art. Her archive is held at the University of St Andrews.

Carolyn Scott is an artist working in photography, film and installation. She was raised in Edinburgh and now lives in Cupar, Fife. Carolyn lived in the Rye Hill district of Newcastle Upon Tyne in the late 1960s where, in the spring and early summer of 1968, using a twin-lens Rollieflex camera, she photographed the immediate area in which she lived. Her  Rye Hill Social Documentary Photography Collection images were unseen for nearly 40 years until she revisited them during her studies at Duncan of Jordanstone College of Art and Design, Dundee University, where she received a BA and MFA. Carolyn’s work has been shown in the Cupar Arts Festival, St Andrews Photography Festival, Royal Scottish Academy and The Centre for Theology and Inquiry, Princeton. The Rye Hill Social Documentary Photography Collection is now held at the University of St Andrews. 

Niu Weiyu (牛畏予) (1927–2020) worked as a photojournalist and photographer for North China Pictorial, Southwest Pictorial, and the News Photography Bureau. She later joined the Xinhua News Agency, where she worked for various branches from the 1950s to the 1980s. Weiyu was one of the few women photographers during this period, who were often assigned to feature women workers, such as the first women pilots, as well as public figures and officials in the Chinese Communist Party, and she travelled extensively throughout her career.

Vivian K. Sheng is an art historian working on contemporary Chinese and East Asian art in transnational contexts and an assistant professor in contemporary art at the University of Hong Kong. In Fall 2022, she was a Global Fellow hosted by the School of Art History at the University of St Andrews. Her research investigates the intricate interrelations between women, domesticity and art practices in contexts of ever more intensified cross-border movements and exchanges, provoking reflections on notions of identity, home and belonging beyond the territorial fixity of natio-state. Relevant issues are explored in her forthcoming monograph book— The Arts of Homemaking: Women, Migration and Transnational East Asia. Her writings have appeared in ASAP/Journal, Art Journal, PARSE Journal,Third Text,  Sculpture Journal, Yishu and INDEX JOURNAL.

Catherine Spencer is an art historian at the University of St Andrews. She is currently working on a book entitled Abstract Subjects: Art, Borders and ‘Britain’, and co-editing Grassroots Artmaking: Political Struggle and Activist Art in the UK, 1960–Present with Maryam Ohadi-Hamadani and Amy Tobin (Bloomsbury, forthcoming). Her writing on Franki Raffles has been published in Art History (2022) and the catalogue for the 2024–5 exhibition Franki Raffles: Photography, Activism, Campaign Works at BALTIC Centre for Contemporary Art. In 2021, she co-curated Life Support: Forms of Care in Art and Activism with Caroline Gausden, Kirsten Lloyd, and Nat Raha at Glasgow Women’s Library. Her essays have appeared in Art History, Art Journal, ARTMargins, Tate Papers, Parallax and Oxford Art Journal.

Inspace Gallery: How to Find the Soul of a Sailor

The New Real Unveils First Iteration of Kasia Molga’s Immersive Multimedia Experience, How to Find the Soul of a Sailor, at Inspace Gallery

Exhibition Dates: December 12 – 21, 2024; January 6 – 11, 2025, closed on Sundays.

Times: 10:00-17:00

Exhibition launch: December 12, 2024 5pm – 8pm, artist talk and light refreshments.

Tickets are limited

Please reserve a ticket on Eventbrite – How to Find the Soul of a Sailor Artist Talk and Opening Event Tickets, Thu, Dec 12, 2024 at 5:00 PM | Eventbrite

Free admission

Location: Inspace Gallery, 1 Crichton St, Newington, Edinburgh EH8 9AB

Accessibility: Wheelchair accessible venue

Kasia Molga, an acclaimed interdisciplinary artist, designer and storyteller invites you to explore her first iteration of How to Find the Soul of a Sailor, a deeply personal and innovative project that fuses the past, present, and future through the lens of artificial intelligence and memory.

This work is the result of The New Real 2023-2024 commission “Uncanny Machines” supported by the Scottish AI Alliance. Hosted at Inspace Gallery with additional support from Arts Council England, this unique early access version runs from December 12-21, 2024, and January 6-11, 2025.

Immerse yourself in a deeply personal journey to the future of our oceans and sailors’ time at sea. Experience the Mediterranean sea through the eyes of Molga’s late father, Tadeusz Molga, a devoted sailor.

During his voyages, he meticulously documented his passion for the ocean, a love he shared with young Kasia as she accompanied him on his ship. Fifteen years after his passing, Molga is left with a profound sense of loss and a collection of his cherished diaries. When the memories of their time together begin to fade, she turns to these diaries, clinging to the remnants of his voice and their shared experiences at sea.

Molga’s work captures an emotional and environmental journey highlighting the fragility of our oceans, the ever-changing work conditions of sailors, and speculates on the future and what her father would say.

Molga uses The New Real’s specialised experiential AI platform, The New Real Observatory, to reimagine her father’s words, projecting them 50 years into the future. This project is a powerful fusion of memory and technology, blending generative AI tools with climate data to create an emotionally charged narrative that visualises both the past and future of our oceans.

Molga’s exhibition uniquely combines English and Polish, creating a bilingual experience that delves into the profound topics of personal connection to climate change and the digital afterlife. Her work not only honours the enduring power of memory but also showcases the potential benefits and drawbacks of various artificial intelligence tools to preserve and transform our personal histories.

This exhibition is a must-see for those interested in the intersections of art, technology, and the environment, offering a poignant reflection on the future of our planet and the boundless possibilities of human-AI collaboration.

Durer to Van Dyck exhibition coming to Royal Scottish Academy

National Galleries of Scotland partners with Chatsworth to bring one of the finest collections of drawings to Edinburgh for the first time this winter

Dürer to Van Dyck: Drawings from Chatsworth House 

A National Galleries of Scotland exhibition at the Royal Scottish Academy building 

9 November 2024 – 25 February 2025 

Tickets £4-£14 Friends go free 

For the first time ever in Scotland, experience one of the finest and most significant collections of drawings and watercolours direct from Chatsworth in Derbyshire. 

Exclusive to the National Galleries of Scotland, Dürer to Van Dyck: Drawings from Chatsworth House will take over the lower galleries of the Royal Scottish Academy building this winter, bringing the magic and beauty of Chatsworth’s outstanding collection of drawings to the heart of Edinburgh.

From 9 November 2024, visitors will enjoy a unique opportunity to view almost 50 beautiful and rarely seen drawings by some of the most famous names in European art including Albrecht Dürer, Hans Holbein the Younger, Peter Paul Rubens, Rembrandt van Rijn and Anthony van Dyck.

Not one to miss, this will be the only chance to see Dürer to Van Dyck: Drawings from Chatsworth House anywhere in the world, with all but two of the artworks on display in Scotland for the first time ever. 

The exhibition will include a striking double portrait painting of Peter Paul Rubens and Anthony van Dyck, recently returned to Chatsworth after being stolen while on loan in 1979. Lost for over 40 years, this intricate artwork by Flemish artist Erasmus Quellinus II was remarkably tracked down by the Belgian art historian, Bert Schepers, who identified it at a European auction.

The double portrait was reinstated at Chatsworth earlier this year and will make its Scottish debut as part of Dürer to Van Dyck: Drawings from Chatsworth House. 

Explore the intricacy of some of the most important Flemish, Dutch, Early Netherlandish, and German drawings and watercolours from the Devonshire Collections, in a dazzling display spanning from 1500 to 1700.

Travel along the idyllic banks of the River Amstel and spot the windmills in Rembrandt’s View on the Amsteldijk at Meerhuizen, Looking Towards the Little Windmill (1648-50). Join the thrill of the chase and engage in epic moments of battle with Anthony van Dyck in works such as A Wolf and Fox Hunt (1616-17) and Horatius Cocles Defending the Tiber Bridge (1618-21).

Witness iconic biblical scenes as realised by Peter Paul Rubens in Five Groups of Figures for a Last Supper (Christ Announcing his Betrayal) (1601), Adam and Eve (1520) by Jan Gossart and the ethereal The Virgin and Child with the Infant St John (1516-18) by Albrecht Dürer, the earliest drawing on display. 

Home to the Devonshire family for almost five centuries, Chatsworth is renowned for its Grade I listed house, romantic sprawling grounds and one of the most significant private art collections in Europe.

From holding Mary, Queen of Scots captive in the 16th century, to playing the fictional home of Pride and Prejudice’s Mr. Darcy, Chatsworth has been an important backdrop to some of the most significant moments throughout history and popular culture. The core of this collection was assembled by the 2nd Duke of Devonshire in the early eighteenth century. 

Tico Seifert, Senior Curator of Northern European Art at the National Galleries of Scotland said: “This exciting partnership with Chatsworth presents a rare opportunity to bring a world-renowned collection of drawings to Edinburgh for the first time.

“Dürer to Van Dyck: Drawings from Chatsworth House spans two hundred years of exceptional artworks by many of the best-known names in the art world, and it invites an intimate look at some of the most beautiful drawings they ever created.

“It’s a privilege that the National Galleries of Scotland becomes the first and only venue to display these timeless works of art in this specially crafted exhibition and we cannot wait to share it with our visitors.”  

Alice Martin, Head of the Devonshire Collections said: “We’re delighted to be partnering with the National Galleries of Scotland on this exhibition.

“We are always looking at ways to increase access to the Devonshire Collections, especially for those unable to visit Chatsworth, and share works with new audiences. We hope that people will take the opportunity to visit the Royal Scottish Academy and enjoy this wonderful collection of drawings and watercolours.” 

Dürer to Van Dyck: Drawings from Chatsworth House, a National Galleries of Scotland exhibition at the Royal Scottish Academy, is yours to discover from from Saturday 9 November 2024.

Tickets available now Dürer to Van Dyck | Drawings from Chatsworth House | National Galleries of Scotland 

Spectacular Enlightenment sundial acquired by National Museums Scotland

National Museums Scotland has announced the acquisition of an ornate early 18th-century sundial of exceptional precision and design. The Ilay Glynne dial, which is now on display at the National Museum of Scotland in Edinburgh, is a masterpiece of both art and science. 

The Ilay Glynne dial, made around 1715, was used to measure local time from the Sun, providing the most accurate means of setting clocks available at the time. It could be used at any latitude, and its form models the celestial sphere, showing the Sun’s apparent motion around the Earth.  

The acquisition of the dial, which has important connections to post-Union Scotland, has been supported by the National Heritage Memorial Fund and Art Fund. 

The dial was commissioned by and belonged to Archibald Campbell, Earl of Ilay and later 3rd Duke of Argyll (1682-1761).

Ilay was hugely influential figure in post-Union Scotland. He had control over royal patronage in Scotland, and managed Scottish affairs, making him the most politically powerful figure in the first half of the 18th century.

He was a founder and the first governor of the Royal Bank of Scotland. His likeness used to appear on all RBS banknotes, and still appears on the £100 note today. Through his patronage, including at Scottish universities, he became an important sponsor and promoter of the culture of the Scottish Enlightenment  

It is signed by Richard Glynne (1681-1755), a successful and well-regarded maker of mathematical instruments and a member of the Clockmakers’ Company. In his business, skills and innovations, Glynne was closely integrated with a growing community of British instrument makers and produced instruments of outstanding quality, of which this dial is the most important surviving example. 

The dial is of a type first made for figures such as Peter I of Russia and Queen Anne’s consort, Prince George of Denmark, suggesting Ilay commissioned it from Glynne as a projection of his reputation as a nobleman of wealth and status.

Of imposing size, in brass and silvered brass, it is surmounted with the Ilay coat of arms, with leopard supporters, coronet and motto, and the central plate is decorated with the monogram ‘AC’, for Archibald Campbell, beneath an earl’s coronet.    

Dr Rebekah Higgitt, Principal Curator of Science at National Museums Scotland, said: “We’re delighted to be able to acquire the spectacular Ilay Glynne dial and hugely grateful to the funders who have made it possible.

“It is an addition which reflects the breadth of our collections, being at once a significant scientific instrument, an object of great beauty and one with strong connections to key developments in Scotland’s history.” 

Dr Simon Thurley, Chair of the National Heritage Memorial Fund, said: ”The Ilay-Glynne dial is a magnificent example of scientific endeavour, and we are delighted to have supported National Museums Scotland to acquire it for a UK public collection.

“Not only is it an exquisite instrument, but its provenance offers an opportunity to explore important stories about scientific, intellectual and cultural currents that saw the birth of the Scottish Enlightenment.” 

Jenny Waldman, Director, Art Fund said: “This stunning sundial offers a unique insight into scientific innovations in 18th century Scotland. The precision and detail of the craftsmanship is exquisite, a true work of art.

“I’m so pleased that Art Fund has been able to support National Museums Scotland to acquire this remarkable object for their permanent collection, ensuring it will continue to enlighten visitors from Scotland and beyond on public display in the Spirit of the Age gallery.” 

The Ilay Glynne dial reveals the Earl of Ilay not just as the politically powerful and wealthy figure he is best known as, but also as a patron of arts, science and learning. It is through this patronage that Ilay is widely believed to have contributed to the Scottish Enlightenment.

Those he supported include philosopher Francis Hutcheson, chemist Joseph Black, astronomer Alexander Wilson, poet Allan Ramsay and other ingenious individuals who created emblematic works of 18th-century Scottish culture.     

In Scotland, Ilay pursued agricultural and infrastructure projects, the development of fisheries and promotion of the linen trade. As founder and governor of the Royal Bank of Scotland and the British Linen Company he aimed to encourage others to invest and improve. 

Some of these investments were in overseas trading companies, such as the African Company, East India Company and South Seas Company, which profited from colonisation and the exploitation of enslaved people, an important reminder of a key source of wealth that underlay economic and cultural change in 18th-century Scotland.   

The dial has undergone extensive cleaning and conservation work, and is now on permanent display in the Spirit of the Age gallery in the National Museum of Scotland. Admission is free. 

Intercontinental Edinburgh The George and Edinburgh College of Art unveil winning artwork in tribute to Susan Ferrier

InterContinental Edinburgh The George Hotel has unveiled a commissioned artwork in celebration of one of the city’s great literary figures, Susan Ferrier, on the bicentenary of her novel The Inheritance.

The initiative, in collaboration with Edinburgh College of Art (ECA), the University of Edinburgh has culminated in a beautiful piece that will be permanently displayed in the new Ferrier Suite at InterContinental Edinburgh The George Hotel.““

Following a competitive selection process involving numerous talented students from ECA, Ella Williams’ standout piece entitled ‘Studies from Ferrier’s The Inheritance’ was chosen as the winning entry. The piece stood out for its creativity, depth and heartfelt homage to Susan Ferrier’s ‘The Inheritance’ and its contribution to Scottish literature, 200 years after being first published.

The work by Ella Williams, a third-year Fine Art student, features a collection of smaller narrative paintings that portray key elements and scenes from the novel, focusing on Ferrier’s critique of marriage in the novel.

Her work laid bare the realities of the marriage market or the alternative of being an unwed women in 1824, the year of its publication. 

The paintings also reference Ferrier’s connection to Edinburgh, specifically the InterContinental Edinburgh The George Hotel townhouse itself, where she once lived. The collected images seek to imply a narrative while remaining ambiguous to inspire curiosity amongst its audience about Ferrier’s work.

Williams’ intention was to illustrate the novel’s protagonist, Getrude St. Clair, and her journey largely through symbolism, representing the strong female character navigating the constraints of the period setting. Leaning into aspects of romantic imagery, Williams was intrigued by Ferrier’s use of the romance genre as a subversive means to comment on the position of women in society.

Williams explained: “Several of the paintings illustrate key settings within the novel, while others represent Gertrude’s journey of self-discovery in pursuit of a suitor that is her equal, symbolised by the clasping of hands and elements of romantic imagery such as roses.”

The figurative paintings are framed to exclude the faces of each subject, avoiding too literal an interpretation of the characters and allowing the viewers imagination to take precedence, deciding if Ferrier or Gertrude in the subject.

Williams continued: “I sought to nod to Ferrier’s residency in the building portraying elements of the hotel that would be recognisable to guests such as Ferrier looking out the window of the suite and a tea set that matches those available to guests.

“I’m delighted to have won this art project and can’t wait to see my piece displayed within the hotel and being enjoyed by visitors to the city.”

Jonathan Dawson, General Manager at InterContinental Edinburgh The George Hotel, said: “We are thrilled to showcase Ella Williams’ stunning piece within the hotel.

“Her work not only honours Susan Ferrier’s literary achievements but adds another piece to our already rich cultural heritage. This partnership with Edinburgh College of Art has been incredibly rewarding, and we looking forward to seeing how Ella’s work will inspire our guests.”

Susan Mowatt, Head of Art, Edinburgh College of Art, said: “Ella Williams’ artwork is a testament to the talent and creativity nurtured at our institution. We are proud to support initiatives that connect our students with the community and celebrate our city’s historical figures.”

As well as becoming part of the hotel’s heritage, Williams also received a purchase price of £3,500 for her artwork, an overnight stay in the Ferrier Suite and dinner in the hotel’s restaurant Le Petit Beefbar.

Artistic runners up from ECA include Chengyi Xu Xu and Amy Sema who each won an overnight stay and dinner in Le Petit Beefbar.

‘Studies from Ferrier’s The Inheritance’ will be displayed in InterContinental Edinburgh The George’s Club InterContinental lounge over the summer, before being put on permanent display in the hotel’s Ferrier Suite in celebration of the author’s unique connection to the hotel.

Summer Drawing Competition at Drumbrae Library Hub

Do you remember we had an Easter Drawing competition? Well we were so impressed by ALL your eye-catching, creative and imaginative entries that we decided to have a SUMMER DRAWING COMPETITION!

We want to know what summer means to you? Ice cream? Football at the park? Swimming? Movies? Daydreaming in the garden? Trips to the seaside? Sunny sandpits? Waterfights? Fun times with your family and friends? Long walks with the dog?

Looking forward to seeing all your entries pouring in from Monday onwards!

PLEASE ASK FOR YOUR ENTRY SHEET AT THE DESK or bring in your drawing from home but remember to add your name, phone number and age on the back! :0)

National Galleries of Scotland prepares for a sensational year of art for everyone in 2025

  • Be immersed in Andy Goldsworthy: Fifty Years  
  • Travel back in time to The World of King James VI and I  
  • Celebrate 250 years of JMW Turner in Turner in January: The Vaughan Bequest from the National Gallery of Ireland  
  • Take to the skies with Alfred Buckham: Daredevil Photographer  
  • Discover magnificent works from ARTIST ROOMS  
  • Mark the centenary of Scottish artist Ian Hamilton Finlay  
  • Explore the imaginative creations of young people in Your Art World  

National Galleries of Scotland announces an unmissable programme of free and ticketed exhibitions set to take over the National, Portrait and Modern galleries in Edinburgh throughout 2025.

From striking installations in Andy Goldsworthy: Fifty Years to time travelling into The World of King James VI and I, taking to the skies with Alfred Buckham: Daredevil Photographer, a celebration of 250 years of JMW Turner with Turner in January: The Vaughan Bequest from the National Gallery of Ireland and more.

There will be a sensational array of art to enjoy in the Scottish capital next year. Ticketed exhibitions can be booked online now What’s on | National Galleries of Scotland 

From 26 July until 2 November 2025, immerse yourself in a major large-scale exhibition by Andy Goldsworthy. Andy Goldsworthy: Fifty Years will take over the upper and lower galleries in the Royal Scottish Academy building for the summer.

Based in Scotland, Goldsworthy (born 1956) is internationally famous for his extraordinary work with natural materials.

The exhibition will span five decades of creation with over 200 works including photographs, sculptures, and expansive new installations. Goldsworthy will also create several major new works onsite at the Royal Scottish Academy building especially for Andy Goldsworthy: Fifty Years.

This spectacular summer exhibition is sure to be one of the most talked-about of the year – and it is showing only in Edinburgh.  

Next spring at the Portrait, travel back in time and be immersed in The World of King James VI and I. Son of Mary, Queen of Scots, successor to Elizabeth I and the first monarch to rule over Scotland, England and Ireland, get to know King James (1566 – 1625) and step into the world in which he lived, ruled and changed forever.

Marking the 400-year anniversary of King James’s death, this exhibition will chart his remarkable reign through stories of friendship, family, feuds and ambition.

Drawing on themes with contemporary relevance, including national identity, queer history, belief and spirituality, The World of King James VI and I will be an enriching journey through the complex life of a King who changed the shape of the United Kingdom.

Over 100 objects will be on display, including ornate paintings, dazzling jewels, lavish designs and important loans from galleries across the UK, celebrating craft and visual art from the 16th and 17th centuries.

From 26 April – 14 September 2025 come and be fully immersed in the sights, sounds (and even smells) of the period, connecting the people of the past with the people of today. Tickets are on sale now.  

In 2025 the National Galleries of Scotland will commemorate the 250th birthday of beloved British artist JMW Turner (1775 – 1851) with a once in a lifetime, free exhibition. For the first time, visitors will be able to marvel at over 30 Turner watercolours from Dublin.

Turner in January: The Vaughan Bequest from the National Gallery of Ireland at the Royal Scottish Academy building will be one-off special take on the keenly awaited and much-loved annual tradition.

Spanning the breadth of Turner’s career, visitors can roam through sweeping seascapes, dramatic landscapes and spectacular cities, many displayed in their original frames.

As part of this special partnership, the Turner works from the Scottish national collection will go on display at the National Gallery of Ireland allowing visitors in both Scotland and Ireland to connect with works from the Henry Vaughan Bequest they don’t often get to see.  

There will be two new and exciting exhibitions making their way to the Modern in 2025. From next summer you can explore your collection at Modern One with a series of new displays showcasing magnificent and diverse works of 20th and 21st century art belonging to the people of Scotland.

Your World celebration day at the National Galleries.

This includes an opportunity to see compelling works from your ARTIST ROOMS collection, cared for jointly by the National Galleries of Scotland and Tate.  Explore this exhibition of the nation’s superb contemporary and modern collection from 12 July 2025.  

The centenary of revered Scottish artist Ian Hamilton Finlay (1925 – 2006) will also be marked in a new free display of his work at Modern Two from 8 March to 26 May 2025.

A visionary in his craft, Ian Hamilton Finlay harnessed the power of collaboration throughout his career, drawing on the expertise of fellow makers and creators to bring his artistic visions to life.

Hailed as a poet, sculptor, printmaker, gardener and provocateur, his practice covered a wide range of media, reflected in this display through over 30 sculptures, installations and prints as well as extensive archival materials, all from Scotland’s national collection.  

Moving into the autumn at the Portrait, take to the skies and see the world from above the clouds through the remarkable work of Alfred Buckham: Daredevil Photographer. 

A trailblazer in his field, Buckham (1879 – 1956) soared above the realms of what was thought to be possible in 20th century photography and aviation.

From 18 October 2025 – 19 April 2026, meet the man behind some of the most iconic aerial photographs, marvel at the death-defying lengths he took to capture the perfect image and explore how his innovative techniques paved the way for modern technologies such as Photoshop and AI.  

Explore the imaginative Your Art World exhibition at the National, showcasing the inspirational new works of young artists from all over Scotland aged 3 – 18-year-olds. The exhibition is a celebration of what happens when young people are encouraged to be wildly creative.

Discover installations from school and community groups who have worked alongside the National Galleries of Scotland. Or even view the creations of the young people in your own life. With the opportunity to upload artwork online via the website, anyone aged 3-18 can see their own digital submissions on screen in the gallery. Immerse yourself in the imagination of these young artists from 10 May to 2 November 2025.  

Anne Lyden, Director-General at the National Galleries of Scotland said “We’re really excited to announce our 2025 public programme, which is packed full of fantastic exhibitions.

“Breathtaking installations at the Royal Scottish Academy, soaring above the clouds at the Portrait gallery, and modern and contemporary highlights from your national collection at the Moderns.

“Whether you want to be inspired, find a moment of calm or share a joyful experience with friends – there’s so much to discover at the National Galleries of Scotland.”  

40 years of Collective

For 40 years, Collective has offered a supportive environment for artists to test out new ideas, produce new work and share their work with audiences. 

Founded as an artist-run space in 1984, over the course of four decades we have become an integral part of Scotland’s creative ecosystem.

Collective is now recognised nationally and internationally for the quality of our programmes, especially with emergent practitioners based in Scotland.
 
As we celebrate 40 years, we need your support to continue enabling ground-breaking artists to realise and share their ideas. 
 
Support our work with artists. Please donate today. 

Opening Hours

Wednesday – Sunday, 10am-5pm

The Lookout opening hours are available on their website. 

Find Us

Collective
City Observatory
38 Calton Hill
Edinburgh
EH7 5AA

+44 (0)131 556 1264
mail@collective-edinburgh.art