Skip to main content

Why Inverleith House Must Be Re-Opened

This coming Sunday, April 23rd, marks the six month anniversary of the closure of Inverleith House,which for the previous thirty years has been one of the world's leading contemporary art galleries. This unique, light-filled venue, housed within the Royal Botanic Garden Edinburgh, captured imaginations right up to its thirtieth anniversary exhibition, the tellingly named I Still Believe in Miracles...

Only after news of the closure leaked out did RBGE attempt to explain the decision by way of a written statement. While no proposed alternative use for Inverleith House was forthcoming, RBGE declared that they needed to focus on RBGE's core botanical function. In an interview with the Herald, RBGE's Regius Keeper Simon Milne stated that Inverleith House was unable to 'wash it's face' financially. For a publicly accountable custodian of a major public institution to use the language of a market trader in this way was telling.

Arts funding body Creative Scotland, who have funded Inverleith House on an annual basis, expressed their disappointment with the closure. Given that they had recently paid for a report on the future of Inverleith House, you can see their point, especially as nowhere in the report was there any recommendation that it should be closed. RBGE have yet to publish the report in the public domain, and only a Freedom of Information request by the Herald saw its release to journalists in redacted form.

A 'mass visit' on the final day of I Still Believe in Miracles... saw more than 700 art-lovers protesting against the closure. A petition opposing RBGE's decision has attracted more than 10,000 signatures, while a noticeably quiet Scottish Government set up a short term Working Party to discuss Inverleith House's future. Twenty-three questions asked by myself in my capacity as a contributor to online arts and culture magazine, Product, linked here - http://www.productmagazine.co.uk/ideas/open-letter/ remain unanswered, despite numerous assurances by RBGE that they would be addressed.

More recently, it was announced that a summer exhibition at Inverleith House will form part of Edinburgh Art Festival. While RBGE's hand has clearly been forced by public pressure, this isn't nearly enough, but perhaps RBGE's priorities lie elsewhere. This week, a job ad by French multinational Sodexo, who manage RBGE's events programme, came to light. The ad, for a Corporate Sales Manager – Conference and Events at RBGE- is riddled throughout with the profit-driven language of commerce. It makes no mention of any kind of art programme. Nor does it highlight RBGE's core botanical function. It does, however, mention money. A lot.

It seems obvious to me that there are those in office at RBGE who believe they are running a business. These same publicly accountable officials are reluctant to answer questions about their conduct in regards to the closure of a national public asset. What is clear most of all is that, in closing Inverleith House, RBGE has made a terrible mistake. It is embarrassing too for a Scottish Government who claim to value Scotland's artistic institutions. Only the reopening of Inverleith House as a permanent contemporary art gallery will resolve a sorry mess which should never have happened.

The Herald, April 20th 2017

ends

Comments

Popular posts from this blog

The Honourable K.W. Harman: Ltd Ink Corporation

31 Bath Road, Leith Docks, March 17th-20th

In a monumental shipping container down by Leith Docks, a Sex Pistols tribute band is playing Anarchy in the U.K.. on a stage set up in the middle of the room. Either side, various constructions have been built in such a way so viewers can window shop as they promenade from one end of the room to the next, with the holy grail of a bar at either end.

Inbetween, there’s a confession booth and a mock-up of a private detective’s office with assorted documentation of real-life surveillance pinned to the walls. Two people seem to be having a conversation in public as if they're on a chat show. An assault course of smashed windows are perched on the floor like collateral damage of post-chucking out time target practice. A display of distinctively lettered signs originally created by a homeless man in search of a bed for the night are clumped together on placards that seem to be marking out territory or else finding comfort in being together. Opp…

The Maids

Dundee Rep

Two sisters sit in glass cases either side of the stage at the start of Eve Jamieson's production of Jean Genet's nasty little study of warped aspiration and abuse of power. Bathed in red light, the women look like artefacts in some cheap thrill waxworks horror-show, or else exhibits in a human zoo. Either way, they are both trapped, immortalised in a freak-show possibly of their own making.

Once the sisters come to life and drape themselves in the sumptuous bedroom of their absent mistress, they raid her bulging wardrobe to try on otherwise untouchable glad-rags and jewellery. As they do, the grotesque parody of the high-life they aspire to turns uglier by the second. When the Mistress returns, as played with daring abandon by Emily Winter as a glamour-chasing narcissist who gets her kicks from drooling over the criminal classes, you can't really blame the sisters for their fantasy of killing her.

Slabs of sound slice the air to punctuate each scene of Mart…

Nomanslanding

Tramway, Glasgow until July 2nd
Four stars

In the dead of night, the audience are split in two and led under-cover into lamp-lit tented structures. Inside, what look like peasant women on the run lead us down a ramp and into a large circular pod. It feels part cathedral, part space-ship, and to come blinking into the light of such a fantastical structure after stumbling in the dark disorientates and overwhelms. Sat around the pod as if awaiting prayers to begin, we watch as performers Nerea Bello and Judith Williams incant mournfully on either side of the room. Their keening chorales embark on a voyage of their own, twisting around each other by way of the international language of singing. As if in sympathy, the walls wail and whisper, before starting to move as those on either side of the pod are left stranded, a gulf between them.

This international co-commission between Glasgow Life and the Merchant City Festival, Sydney Harbour Foreshaw Authority in Australia and Urbane Kienste …