Join us at granton:hub for our next exhibition, a 20 year retrospective from artist Anna V Phillips running Friday 28th to Sunday 30th November.
Artist statement:
“Brought up in a very artistic home, I’ve always had a deep love for art – but like many creative journeys, mine has taken a few detours along the way.
I moved to Aberdeen in 1978, where I studied Occupational Therapy, and stayed until 2006, during which time I was married and raised three Children.
I attended watercolour classes from 2003 – 2006. These included drawing, acrylics, gouache and soft pastels.
I lived in Houston, Texas for nine years (2006 – 2015).
I volunteered at The Printing Museum, where I met Charles Criner (1945 – 2025) the artist in residence. Charlea mentored me and introduced me to a wide variety of printing techniques – leaving a lasting impression on my artistic path.
I discovered @grantonhub Painting for Pleasure weekends in 2018, and with that, a new chapter began.
This is my first exhibition since my return to Edinburgh in 2015, so I have chosen to display artworks that follow my artistic journey.
I hope you take time to visit and enjoy this exhibition.”
A design by Leonardo da Vinci for a fantastical dragon costume is one of more than 80 drawings by 57 different artists that are now on display as part ofthe widest-ranging exhibition of Italian Renaissance drawings for over half a century in Scotland.
Drawings by Leonardo, Michelangelo, Titian and more are among 45 works going on display in Scotland for the first time as part of Drawing the Italian Renaissance at The King’s Gallery at the Palace of Holyroodhouse in Edinburgh.
Following a critically acclaimed showing in London, the exhibition explores the variety and range of drawings in this period, from preparatory studies for paintings and altarpieces to designs for sculpture and elaborate drawings which were made as gifts.
Drawings were often discarded after they had served their purpose, with only a small proportion surviving, but the works on display have been carefully preserved in the Royal Collection for centuries, allowing them to be enjoyed almost as vividly as when they were created.
Lauren Porter, curator of the exhibition, said ‘This is a remarkable opportunity to share so many of the Italian Renaissance drawings from the Royal Collection, with over half being shown in Scotland for the first time.
“As works on paper cannot be permanently displayed for conservation reasons, this exhibition offers a rare opportunity for visitors to view these drawings up close, giving a unique insight into the minds of the great artists who made them.’
Reflecting the continued importance of drawing today, the Gallery is hosting its first artist residency, in collaboration with Edinburgh College of Art.
Edinburgh-based artists Phoebe Leach and Dette Allmark, both alumni of the School, will respond to the masterpieces on display by drawing in the Gallery throughout the exhibition. Their creations will form a changing display for visitors, who are encouraged to take inspiration and try drawing themselves, with materials freely available.
A highlight work on display is an example of one of Leonardo’s anatomical studies drawn from a real-life dissection. The double-sided drawing which shows the muscles of a man was created in c.1510–11 and shows his detailed, personal notes in his left-handed ‘mirror-writing’.
Perhaps lesser known are the anatomical studies of Michelangelo, who reportedly conducted human dissections as a young man.
On display for the first time in Scotland is his study of a male torso in pen and ink, which was likely drawn from a wax model made by the artist, which shows his ongoing interest in human anatomy later in life. This can also be seen in his highly finished black chalk drawing of the resurrected Christ, with the artist capturing the energy of the muscular figure rising from his tomb.
Other striking figure studies on display include two works by Raphael: a vigorous drawing of Hercules slaying the many-headed Hydra, and a red chalk study of The Three Graces that was – unusually for the period – drawn from a nude female model.
Scenes from mythology were common subjects for Italian Renaissance artists and are well-represented in the exhibition. They include drawings by lesser-known artists including Paolo Farinati’s design for a fresco showing the goddesses of fruit and agriculture.
The drawing, which has not been on display before in Scotland, is inscribed with instructions for the artist’s assistants on the height of the figures, telling them they should be around three-feet-high but to ‘do it as you fancy when you are on the scaffolding.’
Other highlights on display include a drawing attributed to the Venetian artist Titian of an ostrich, believed to have been drawn from life, and Leonardo’s design for a dragon costume, which appears to house two men, in the manner of a pantomime horse.
A series of portrait drawings and head studies show therange of subjects, materials, functions and coloursof Italian Renaissance drawings.
The distorted and tormented face of a grotesque mask sketched by Michelangelo, possibly a design for a sculpture, contrasts with the classical features of Leonardo’s red and black chalk drawing of a curly-haired young man which is displayed nearby, with both works on show for the first time in Scotland.
After almost 120 hours of conservation work by Royal Collection Trust conservators ahead of the London exhibition, Bernardino Campi’s cartoon for an altarpiece of the Virgin and Child is on show for the first time in Scotland.
The cartoon, a large-scale drawing made of four pieces of paper joined together, was originally used to transfer the drawing onto a painting’s surface. The conservation work involved painstakingly removing the drawing from its deteriorating canvas backing and supporting sections where the paperhad become as delicate as lace.
The Italian Renaissance saw the range and purpose of drawing greatly expand, resulting in some of the finest works of art in any medium.
Michelangelo’s meticulous drawing A children’s bacchanal marks a highpoint of Renaissance draughtsmanship and is in perfect condition, allowing us to see Michelangelo’s mastery of the art of drawing.
Following a successful launch in 2024, The King’s Gallery will offer £1 tickets for the exhibition to visitors receiving Universal Credit and other named benefits.
Further concessionary rates are available, including discounted tickets for young people, half-price entry for children (with under-fives free), and the option to convert standard tickets bought directly from Royal Collection Trust into a 1-Year Pass for unlimited re-entry for 12 months.
Exhibiton explores the intersection of traditional craft and social activism
A new colourful and vibrant exhibition bringing together historic objects and contemporary protest material to explore the recent explosion of ‘Craftivism’ in Edinburgh is now open.
Running until 26 January 2026, the exhibition will explore Craftivism – the practice of using traditional craft techniques like knitting, sewing and collage to address political, social, and cultural concerns. Over the past two decades, the movement has gained significant momentum, especially in the wake of the global pandemic.
Edinburgh has become a centre of Craftivist activity due to its position as Scotland’s capital and the home of its Parliament, as well as its strong heritage in teaching and nurturing craft skills.
The exhibition shines a light on how these humble, time-honoured practices have been repurposed as powerful forms of expression, from political protests to expressions of personal identity.
It will feature a rich variety of items from Edinburgh’s collections, including pieces from the People’s Story, Museum of Edinburgh, and the Museum of Childhood.
Culture and Communities Convener Margaret Graham said:Edinburgh has strong craft heritage so I’m delighted that the Museum of Edinburgh will be showcasing how the tradition of craft has evolved into a powerful form of activism.
“It’s wonderful to see historic examples of work from across our museums displayed alongside the work of talented contemporary makers. The range of creativity displayed, and the issues engaged with, shows what a vibrant city Edinburgh is.
“This exhibition is a testament to the resilience and spirit of communities who are using their craft to advocate for change, from environmental justice to mental health awareness.”
Curator Vicky Garrington said:“It’s been a fascinating experience, diving into Museums & Galleries Edinburgh’s historic collections to explore the history of crafting and protest in the Capital.
“We hope viewers will enjoy seeing objects from our collections alongside works by talented contemporary makers.
“From quiet explorations of wellbeing through lacemaking to bold knitted panels demanding climate justice, there is something for everyone on display.”
Highlights include crocheted protest banners, a Victorian scrap screen, and even a Jacobite drinking glass, each providing a unique lens through which to understand Edinburgh’s history of activism.
Alongside these historic items, the exhibition will present the work of contemporary Craftivists, with pieces that touch on topics such as politics, feminism, LGBTQ+ rights, environmental justice, and mental health.
Among the featured works are those made in collaboration with MindRoom, a charity that supports neurodiverse young people, and the City Art Centre South Asian Youth Group.
The exhibition will also host a variety of public programmes, lacemaking demonstrations, interactive workshops.
It runs from Wednesday 17 Sept 2025 until Monday 26 Jan 2026.
This autumn at the Portrait gallery in Edinburgh, take to the skies and see the world from above the clouds through the remarkable work of Alfred Buckham: Daredevil Photographer.
From 18 October 2025 – 19 April 2026, meet the man behind some of the most iconic aerial photographs ever taken, marvel at the death-defying lengths he took to capture the perfect image and explore how his innovative techniques in the darkroom paved the way for modern technologies such as Photoshop and AI.
Free to visit at the National Galleries Scotland: Portrait, this will be the first major exhibition dedicated to Alfred Buckham and can only be seen in Scotland.
This exhibition will bring together over 100 photographs and objects including popular works from the Scottish national collection, alongside extensive archival material generously loaned by Alfred Buckham’s grandsons, Richard and John Buckham. Thanks to the support of the Buckham family, personal objects including letters, photographs and even the passport Alfred Buckham used will be put on public display for the first time.
A maverick of early aviation, Alfred Buckham (1879-1956) created his own unique style of photography by combining daring exploits in the air with innovation in the darkroom. Born in London, Buckham learned his craft by teaching photography before joining the Royal Naval Air Service in 1916, a predecessor to the Royal Air Force.
Hailed as an exceptionally skilled flyer, he combined his talent for aviation with his passion for photography, resulting in remarkable endeavours and trailblazing images. Based for most of his military career at RAF Turnhouse, now Edinburgh Airport, central Scotland became a natural playground for Buckham to refine his photographic techniques and let his imagination soar.
Daredevil Photographer will chart his phenomenal story from his early photographic experiments in Scotland to exciting adventures in South America and look closer at the skilled and inventive ways he created his work.
Explore Scotland from the air and get a new perspective of well-known sights, just as Buckham himself would have. Daredevil Photographer celebrates the impact Scotland had on Buckham’s work through his images of recognisable landmarks including St Andrews Golf Links, Linlithgow Palace and the Wallace Monument in Stirling.
The exhibition will also feature several images of the Forth Rail Bridge, Buckham’s most photographed landmark. The iconic bridge was the subject of one of his first composite photographs and appeared on the 1918 RAF Turnhouse Christmas card, which will go on display alongside the original photography.
Daredevil Photographer will delve into the darkroom and uncover more about the creative processes used to bring Buckham’s unique images to life. After the First World War, Buckham began experimenting with composite photography; a technique where several negatives are used to create one photographic print.
While this wasn’t a new concept, composite photography added a layer of creative freedom to Buckham’s work, much like a very early form of Photoshop.
From his vast collection of glass negatives – he had over 2000 cloud images alone in his ‘cloud library’ – Buckham had the means to create images which became immersive, giving a unique sense of flying alongside these incredible aircraft while viewing the world below.
It was through the technique of composite photography that some of Buckham’s most famous works were born, including the iconic aerial view of Edinburgh (about 1920). This striking photograph shows a bi-plane hovering amongst wispy clouds above Edinburgh Castle, with Arthur’s Seat visible through the mist in the background, and the bustling city below.
For the first time, Edinburgh will be displayed alongside the camera and original glass negatives Buckham used to capture and create this much-loved image. Visitors will also be encouraged to get inspired and try their hand at creating their own composite creations through interactive exhibits.
Telling Buckham’s story through his own wordsand memories, Daredevil Photographer allows visitors to meet the courageous and humorous man behind the camera. Firsthand accounts of his incredible exploits in the air and ingenious creative methods on the ground will enhance his story and highlight his adventurous spirit:Ah! One was a rare daredevil in those days! (Alfred Buckham, The New York Times, 1930).
A free and unique immersive audio experience will bring Buckham’s world of flight and imagination to life through his own words. Hear Buckham’s grandson Richard give a voice to his grandfather’s memories and reflections on his daredevil persona.
Daredevil in every sense of the word, Buckham went to incredible feats to capture the perfect shot, which the exhibition will explore. His preferred methods included standing in an open cockpit while mid-air, with his leg tied to the seat as a nod to safety. As a result, he experienced no less than nine crashes in his lifetime, one ending in a serious throat injury that cut his military career short.
However, he would not be deterred, describing his eccentric photography methods in a surprisingly relaxed way:
“It is not easy to tumble out of an aeroplane, unless you really want to, and on considerably more than a thousand flights I have used a safety belt only once, and then it was thrust upon me.
“I always stand up to make an exposure and, taking the precaution to tie my right leg to the seat, I am free to move rapidly, and easily, in any desired direction; and loop the loop; and indulge in other such delights, with perfect safety” – Alfred Buckham, The Camera, January 1927.
Daredevil Photographer will celebrate Buckham’s skill in the air through a range of his mesmerising photographs. Encounter stunning images of the leading aircraft of the day, such as the Bristol Fighter, a two seated bi-plane designed for aerial reconnaissance, and the bizarre airships of the 1920s.
See them soaring through the skies in all weathers, amongst an array of remarkable landscapes. The exhibition will include one of his most well-known works, The Heart of the Empire (1923), on loan from the V&A Museum in London and displayed in Edinburgh for the first time.
The photograph follows a bi-plane as it glides across the London skyline, with landmarks such as Tower Bridge and the River Thames in view. Exhibited by the Royal Photographic Society in 1925, The Heart of the Empire secured Buckham’s position as one of Britain’s leading aerial photographers.
Experience the golden age of travel through Buckham’s portfolio of images spanning across the globe. In 1931, a commission from Fortune Magazine took Buckham on an epic fifteen-week trip across the Americas, covering 19,000 miles and setting a world record. Starting in New York City and taking the opportunity to capture the newly built Empire State Building, Buckham photographed his intrepid journey from the United States to the tip of South America to share with the world.
Daredevil Photographer will chart Buckham’s incredible journey, from expansive views of Christ the Redeemer in Rio De Janeiro and the snowy caps of the Andes Mountains to perilous scenes of smoking volcanic creators in Guatemala and Mexico. Through his death-defying adventures and stunning photographs, Buckham expanded public understanding of the world, creating an exciting legacy which continues to capture imaginations today.
Louise Pearson, curator of photography at the National Galleries of Scotland says: “Alfred Buckham’s eye-catching photograph of Edinburgh is one of the most popular artworks in the National Galleries of Scotland collection.
“This enthralling image becomes even more intriguing when you learn that it is a darkroom jigsaw – a composite photograph made through a combination of technical skill and creative vision. Alfred Buckham: Daredevil Photographer tells the remarkable story of this maverick of early aviation whose adventures took him from aerial reconnaissance photographer to intrepid explorer via numerous loop the loops.”
Alfred Buckham: Daredevil Photographer isa free exhibition at National Galleries Scotland: Portrait, opening on 18 October 2025.
A new exhibition which showcases how Enric Miralles, Holyrood’s lead architect, brought to life his vision for a Parliament ‘growing out of the land’ has gone on display at the Scottish Parliament.
The exhibition, Enric Miralles: Creating the Scottish Parliament and other stories by Benedetta Tagliabue and EMBT, will be on display from 31 July until 30 October and entry is free.
Barcelona-based architects EMBT, co-founded by Enric Miralles and Benedetta Tagliabue in collaboration with Edinburgh-based architects RMJM, won the international competition to design the Scottish Parliament in 1998.
Their vision was to create a new Scottish Parliament building that embodied the values of Scotland – a space rooted in its landscape, traditions and people.
Many of the original designs featured in this exhibition will be going on display for the first time, including hand-drawn concept images, sketches, photo collages, site studies and competition boards. They formed part of the rich creative process led by Enric and completed by the EMBT team under Benedetta, following his untimely death in 2000.
The exhibition illustrates the importance of drawing, photography and writing as part of Miralles’ creative practice. From the early inspiration behind the famous ‘upturned boats’ on the roof, the ponds symbolising the lochs of the Scottish landscape and the semi-circular debating chamber, the impressive centrepiece, are just some of the design concepts explored within the exhibition.
The late Queen officially opened the Parliament in October 2004, with the building going on to win many accolades for its architecture and it continues to attract thousands of visitors each year.
Deputy Presiding Officer, Annabelle Ewing MSP said:“20 years on from the opening of the Scottish Parliament, people in Scotland have embraced this building and the vision that Enric Miralles had for it.
“That vision was about more than aesthetics. It reflects principles which still guide our work today – openness, accessibility and transparency.
“This exhibition highlights Enric’s creative process and how the Parliament he envisioned on paper was brought to life, something which sadly he would never see completed. EMBT along with RMJM created a national legislature, providing a home to Scottish politics and changing Edinburgh’s landscape forever.”
Benedetta Tagliabue, co-founder of EMBT said:“I was sure this Parliament would be loved by the people, and now this is happening.
“20 years has passed from the opening of the building and I am so happy to come back to Edinburgh and see how beautifully the building is kept and cared for.
“I hope people will come and discover how the building was conceived and see the many art pieces on display here for the first time. Including original work, photographs and hand drawn designs by Enric which were used to create this landmark”.
The EMBT studio was founded on an ethos that architectural design should enrich the day-to-day lives and experiences of people.
To showcase this philosophy, the exhibition also includes a selection of works developed by EMBT, such as the Santa Caterina Market, Hafencity, Kálida Sant Pau Maggie’s Centre and Parco del Mare Rimini.
This Saturday, the largest ever indoor exhibition by Andy Goldsworthy will open to the public, taking over the National Galleries of Scotland in the heart of Edinburgh.
Featuring over 200 works, the show will include major installations made in response to the iconic Royal Scottish Academy (RSA) building, as well as drawings, photographs, films, sketchbooks and archival items dating back to the mid-1970s and spanning fifty years.
Sure to be one of the most talked-about art events of the year and only to be seen in Edinburgh,. Andy Goldsworthy: Fifty Years opens on Saturday 26 July 2025, and is brought to you by National Galleries Scotland.
Born in England in 1956, and based in Dumfriesshire, Scotland, for the past four decades, Goldsworthy is internationally recognised for his work with natural materials such as clay, stones, reeds, branches, leaves, snow and ice.
Over fifty years, he has created a unique and highly influential body of work that speaks of our relationship with the land. In Andy Goldsworthy: Fifty Years the land is brought indoors, into Scotland’s capital city.
Working as a teenager on farms near Leeds in Yorkshire, where he grew up, Goldsworthy developed a passion for working with the land: harrowing the fields, bailing hay, picking out and piling stones, feeding cows and sheep.
This is where he acquired many of the skills he uses in his practice today: cutting, digging, gathering, stacking, building. Goldsworthy then studied art at Bradford and Preston, while based in Morecombe Bay.
It was there that he began making ephemeral works in the sand, recording what he made in photographs and film.
Andy Goldsworthy: Fifty Years has been conceived by the artist as a single immersive artwork in response to the space, materials and character of the RSA building. Occupying all of the upper rooms and most of the lower floor, the exhibition is at once beautiful and ambitious in scale.
The interrelationship of humans and the working land is a recurrent theme in Goldsworthy’s art and in the exhibition. He often presents the land as a hard, hostile and brutal place. Fences and barriers feature prominently, in the form of rusted barbed wire stretched across a room, and a massive, cracked clay wall.
As in nature, beauty and danger co-exist.
In dialogue with the oak floor, the vast 20-metre-long Oak Passage fills the largest room, with hundreds of oak branches forming a narrow path through its centre. Made from the leftovers of windfallen trees, the passage acts as a reminder that the gallery floor was once a tree, and that a building is part of nature – just as we are.
Another highlight is the floor of one large room which is entirely covered with stones left over from gravedigging – collected from over 100 graveyards in Dumfriesshire.
With this new work, Goldsworthy explores the metaphorical correlation between the body and the earth. When a body is buried, the body takes the place of the stones, and the stones take the place of the body.
At the other end of the sculpture court, in contrast, a room will contain 10,000 reeds suspended from a halo on the ceiling. They will appear to rain down from the sky and float above the gallery floor at the same time.
Red Flags was originally created for the main square in the Rockefeller Center in New York and installed there for a month in September 2020.
The fifty large canvas flags, individually stained with red earth collected from each of the fifty US states, refer equally to difference and similarity, a work, in the words of artist, ‘that talks of connection and not division.’
The colour red features in many of Goldsworthy’s works in the exhibition, referencing blood and the iron content which makes blood red – another connection between our bodies and the land.
Themes of access to the land and the right to roam have informed Goldsworthy’s work. Another new sculpture, which stretches up the impressive entrance stair at the RSA, is made of sheep fleeces marked with the colour codes of different farmers.
While Andy Goldsworthy is one of the most celebrated figures in contemporary art, his work is seldom seen in exhibitions. He has completed outdoor commissions all around the world, from the Arctic Circle to Tasmania, but the inclusion of his work in museum shows is rare.
Andy Goldsworthy: Fifty Years is by far the largest and most ambitious indoor exhibition of his work ever attempted. Conceived by the artist specifically for the RSA building in Edinburgh, never seen before and never to be seen again, this exhibition is set to cement Goldsworthy’s position as one of the leading artists of our time.
Andy Goldsworthy, says: “The show has come at a particular time for me. I don’t think I’ve ever had an exhibition that has paralleled the work that I’m making in the landscape here in Scotland.
“That’s because the RSA is not far from where I live, so I have been able to make work in Dumfriesshire alongside visits to the RSA, which has become connected to what I am doing outside. I couldn’t have done this exhibition anywhere else.
“Actually, describing it as an exhibition seems wrong – it is a work in its own right.”
Anne Lyden, Director-General at the National Galleries of Scotland, says: “Andy Goldsworthy is a unique artist, he has such vision, and his work is extraordinarily beautiful.
“Andy Goldsworthy: Fifty Years is incredibly special, bringing the land indoors, and only at the National Galleries of Scotland. I’m so excited for everyone in Edinburgh to have the opportunity to visit this wonderful exhibition this summer.”
Andy Goldsworthy: Fifty Years is a National Galleries Scotland exhibition at the Royal Scottish Academy building, opening on 26 July 2025.
Visit Edinburgh Interfaith Association’s #Edinburgh900 exhibition “Stories of Belief: Celebrating 900 Years of Faith Communities in Edinburgh” at the St James Quarter from 16 – 23 July.
For more information visit tinyurl/storiesofbelief
The National Galleries of Scotland’s unmissable summer exhibition, Resistance, opens this weekend, Saturday 21 June.
Conceived by acclaimed artist and filmmaker Steve McQueen the exhibition takes over the whole of Modern Two. Explore how acts of resistance have shaped life in the UK, and the powerful role of photography in documenting and driving change. Tickets are on sale now.
Plus, on the first Monday of every month during the exhibition, visitors will be able to pay what they wish, starting from just £2.
Presenting around 200 photographs from a century of activism, Resistance gives a voice to the stories and images from history which have been buried in UK archives until now.
Throughout the exhibition McQueen amplifies underrepresented voices to present a compelling exploration of overlooked histories, shedding light on the forgotten stories that have helped define the course of Britain’s history.
Resistance tours to Modern Two from Turner Contemporary, Margate.
This exhibition will bring together works by renowned photographers such as Vanley Burke, John Deakin, Fay Godwin, Edith Tudor-Hart, David Hurn, Tish Murtha, Humphrey Spender, and Paul Trevor, alongside lesser-known photographers who documented these powerful stories.
Drawing photographs from various archives, collections and image libraries, McQueen has deliberately focused on moments captured before digital cameras became commonplace.
Spanning both floors of Modern Two, Resistance spans from the radical suffrage movement in 1903 to the largest-ever protest in Britain’s history—the Anti-Iraq War Protest in 2003.
The exhibition will also highlight lesser-known events including the hunger marches of the 1930s where thousands of protesters from Scotland and across Britain marched to London, protesting unemployment and poverty. As well as the Blind March of 1920, a pivotal moment in the fight for disability rights.
Visitors will encounter poignant images from demonstrations against environmental destruction, anti-nuclear campaigns and actions advocating for peace.
The exhibition will trace the evolution of environmental movements and highlight a shift from single-issue demonstrations to broader anti-capitalist efforts that paved the way for today’s climate change action.
Including powerful photographs from the 1000-mile march from Faslane Naval Base to Greenham Common in protest against American nuclear weapons being stationed in the UK in 1983.
From Janine Wiedel’s photographs capturing life at Greenham Common Women’s Peace Camp to Andrew Testa’s striking depictions of the 1996 protests against the proposed Newbury Bypass in Berkshire, England, Resistance will serve as a testament to the empowering impact of collective action.
It will explore the intersections between movements such as the Gay Liberation Front and the Women’s Liberation Movement, where protests against Section 28 of the Local Government Act brought the LGBTQ+ community together. Connecting historic struggles, the exhibition will also examine the fight against fascism in the 1930s and 1940s.
The exhibition will underscore the ongoing struggle against racism, showing how grassroots movements have consistently confronted oppression throughout history.
A pivotal moment was the Black People’s Day of Action on 2 March 1981, following the house fire at 439 New Cross Road in South East London, that claimed 13 lives.
The photographs that captured the protest powerfully depict this landmark for Britain’s civil rights movement.
Paul Trevor’s series on the Bengali community will further illustrate how the emerging concept of community photography became a form of activism, amplifying the voices of marginalised groups.
Steve McQueen said: “Within the 5 years of developing the exhibition and book with the Turner Contemporary team, it has been an ambition for Resistance to travel to Scotland to be shared with audiences there.
“Resistance explores how people have challenged the status quo—a mission that feels especially urgent in today’s political climate.”
Leila Riszko, Assistant Curator of Modern and Contemporary Art at National Galleries of Scotland said: “We’re enormously proud to platform this compelling selection of works curated by Steve McQueen.
“This is an exciting opportunity to explore the power of photography in documenting the significant yet underrepresented stories of people who’ve helped shape the world we live in today.
“In these divisive times, many of the themes, moments and narratives highlighted in the exhibition continue to have resonance now.
“As a show about resilience, collective power, galvanising for positive change, and inspiring reaction, we hope that Resistance will stimulate discussion with our visitors and invite deeper reflection on those contemporary issues.”
Resistance is curated by Steve McQueen and Clarrie Wallis, with Emma Lewis. Political research is by Sarah Harrison. The exhibition is produced by Tessa Pierce, with assistance from Brittany Crombie. Organised by and originated at Turner Contemporary, Margate, and adapted for presentation at National Galleries Scotland: Modern Two.
A major new publication by Steve McQueen was also recently released to coincide with the exhibition. The book was compiled by Steve McQueen and edited by Clarrie Wallis and Sarah Harrison. It is published by Monument Books, a new imprint from Harper Collins.
Visitors to St Giles’ Cathedral will come face-to-face with those of the first ‘Edinburghers’ in a new exhibition as part of Edinburgh 900 celebrations.
Marking the joint 900th anniversaries of both Edinburgh and St Giles’ Cathedral, this extraordinary exhibition presents the results of new scientific research into the medieval citizens buried within the grounds of the Cathedral.
Originally excavated in 1981, these remains have undergone new detailed analysis using advanced methods including ancient DNA sequencing, isotopic analysis, radiocarbon dating, and forensic facial reconstruction.
This collaborative project offers a compelling look at the lives, diets, health, origins, and identities of Edinburgh’s earliest residents.
The exhibition will feature:
Facial reconstructions of five individuals by Maria Maclennan, projected throughout the Cathedral using immersive lighting designs by artist Mettje Hunneman.
A specially commissioned short documentary by Cinetopia, featuring interviews with the research team and members of the Cathedral community.
A focus on three key burial groups – individuals from the birth of the burgh and foundation of the Cathedral in the 12th century, two 15th-century male pilgrims and eight women buried inside the Chapel of Our Lady between the 15th and 16th centuries.
Lord Provost Robert Aldridge, said:“This exhibition invites visitors to travel back through nine centuries of Edinburgh’s history, to meet the earliest people who called this city home. Thanks to scientific research and creative collaboration, we are able to share new insights into their lives, origins, health, and identities and, to actually see their faces once again.
“Edinburgh 900 is a year-long celebration of our city’s rich history, culture, and bright future. This exhibition brings the faces of our very first residents to life for our audiences of today. My thanks to our partners, scientists, artists, and all those whose contributions have brought this exhibition to life.”
City of Edinburgh Council Archaeologist John Lawson added: “This has been a fascinating project that brings together new archaeological science and the creative arts to tell the story of Edinburgh’s first residents in an imaginative and exciting way.
“Visitors to the exhibition will come face-to-face with the first inhabitants of the city, ordinary individuals who lived through extraordinary chapters of history. While we are accustomed to the tales of the famous and powerful, this project shifts the spotlight to the everyday citizens, telling their stories in the very place they once walked, worshipped, and were laid to rest.
“To honour their lives in such a meaningful location has been a rare and powerful opportunity. It’s been an immensely rewarding partnership to be part of, and I’m grateful to the church, talented specialists and the artists whose hard work and dedication have have helped to tell these stories.”
Sarah Phemister, Head of Heritage and Culture, St Giles’ Cathedral, said: “This exhibition is a celebration of the remarkable talent, collaboration, and creativity of the scientists and artists who have breathed life into the faces of the past.
“Their work connects us across centuries, reminding us that St Giles’ has always been a place where history, innovation, and human stories have met at the very heart of Edinburgh.”
Free and open to the public from 6 June to 30 November 2025, the exhibition invites visitors to explore the Cathedral’s medieval past in a new way—bringing faces and stories from Edinburgh’s early history to life.
Maria Maclennan, Senior Lecturer School of Design, Edinburgh College of Art (ECA) The University of Edinburgh, said:“It has been an enormous privilege to contribute to such a fascinating and interdisciplinary project, which adopted a truly interdisciplinary approach requiring collaboration on the part of many.
“Each craniofacial approximation involved the marriage of archaeological evidence together with myriad scientific analyses undertaken by the research team, to help inform final facial appearance: forensic anthropology, radiocarbon dating, isotopic signature, DNA profiling, and forensic-artistic techniques.
“Craniofacial Approximation is a hybrid sci-art practice dedicated to restoring the face of an unknown individual from their skeletal remains. In archaeological contexts, as is seen here in St. Giles’ Cathedral, the practice is often an important means of restoring visibility, identity, and humanity to those long lost or forgotten, and/or in promoting education and encouraging public engagement with historical figures of interest from the past.
“For each reconstruction, I produced both a more ‘neutral’ face (depicting how the individual may present in contemporary day Edinburgh), in addition to a ‘historical’ face, depicting the individual dressed in clothing/artefacts typical of the time in which they lived.”
Dr Tobias Houlton, Lecturer in Craniofacial Identification and Forensic Imaging at University of Dundee, said:“This exhibition marks a significant milestone in the longstanding partnership between the City of Edinburgh Council Archaeology Service (CECAS) and the University of Dundee.
“While this particular project has been a year in the making, it builds on many years of collaboration and graduate involvement from the Centre for Anatomy and Human Identification (CAHID). It provides a unique opportunity for CAHID graduates to further develop their expertise in facial identification while contributing to meaningful research in partnership with CECAS.
“The exhibition showcases the powerful synergy between science and art in restoring the faces of Edinburgh’s earliest citizens and enriching our understanding of the city’s medieval past.”
This project has been made possible with support from Historic Environment Scotland, and all partner organisations.
New programme alert! 
