The Edinburgh independent art scene seems to be reaching a boiling point with key artistic hubs grappling with the weight of financial strain and risking permanent closure.
Despite securing a three-year lease extension in August, Summerhall shocked the art community in early October when it was served a winding-up order from HMRC over a disputed tax bill covering 2016-2018. Founder Robert McDowell contested the claim, deeming it “incorrect.” However, with frozen bank accounts, the venue now faces probable sale to luxury developer AMA Homes, whose co-founder Ali Afshar has hinted at plans for a multi-functional space. He has emphasised the venue’s cultural significance and stated that “a substantial proportion” will remain dedicated to arts and events.
Richard DeMarco, a stalwart of contemporary art in Scotland and a prominent figure in the Edinburgh Festival, has launched an urgent £50,000 GoFundMe appeal to safeguard his renowned art collection. DeMarco’s archive, which spans several thousand artworks and a library of over a million photographs, letters, and books, has been stored in Summerhall for over a decade now, but necessitates a new home by next spring. To The Scotsman, DeMarco praises Robert McDowell, describing him as “the only real patron of avant-garde art that Edinburgh has produced.” He laments the lack of suitable space in Edinburgh for his collection, expressing “I cannot see a space in Edinburgh that is going to welcome me.” To DeMarco, his collection is more than an archive – it’s a “gigantic, incomplete work of art” that chronicles “the whole history of human ideas.” Plans currently involve splitting the collection, moving part to The Crichton in Dumfries, with the remainder relocating next spring.
This creative crisis extends beyond Summerhall. The People’s Story Museum narrowly escaped permanent closure and aims to reopen in December after a strong campaign. Meanwhile, the Brunton Theatre, faced with potential demolition due to unsafe reinforced autoclaved aerated concrete, is pleading for urgent funding to sustain its contributions. Its petition calls for a replacement site “to ensure the local community and economy continues to benefit from the world-class arts, entertainment and creative learning it provides.” As well, the Filmhouse on Lothian Road, having been closed for over two years, has managed to obtain an alcohol licence for its café bar and eyes a March reopening. Its petition highlights its significance as a bastion for independent cinema, being “the most ambitious and diverse cinema programme in the UK outside the BFI Southbank.” However, persistent challenges threaten its future.
Edinburgh’s key art leaders too have been vocal about the severity of this situation. Shona McCarthy, chief executive of the Edinburgh Festival Fringe Society, remarked to the BBC in August that “the fragility of the performing arts community is palpable” as it faces government funding cuts, emphasising that the festival must be protected to ensure its continuity. Francesca Hegyi, chief executive of the Edinburgh International Festival, echoed these fears, saying that in her 30 years in the art sector, she has “never known it this bad.” She states how arts organisations “have really cut to the bone” and “there isn’t anymore to cut,” warning “a dismantling of the sector” if action is not taken immediately.
The situation reveals a deep-seated cultural crisis within the city’s creative community, which is being stretched to its limits. With those in the industry raising alarm, the pressing question remains: without decisive action and increased support, can Edinburgh’s rich tapestry of independent art survive this storm?
“Mansudae Art Studio” by Clay Gilliland is licensed under CC BY-SA 2.0.