Please note this event is available both in person and on zoom.
To confirm your interest in attending in person or on Zoom , please email Holly Yeoman, Edinburgh Art Festival Community Engagement Manager: [email protected]
Visit two exhibition venues from Edinburgh Art Festival’s programme, at the Burns monument on Regent Road and the Collective Gallery on Calton Hill. There will be descriptive BSL interpreted tours of the art exhibitions at both venues and an opportunity to join a leisurely descriptive walk up Calton Hill between the two venues. Refreshments available at the Collective Gallery.
2-3:15pm: Meet at Burns Monument, 1759 Regent Rd, Edinburgh EH8 8JQ
3:15 – 3:45pm Walk between venues (please email to discuss any necessary mobility support if attending in person)
3:45pm – 4pm Refreshments/comfort break
3:45-5pm: Finish at Collective Gallery, 38 Calton Hill, Edinburgh EH7 5AA
Information about the exhibitions
Burns Monument – Emeka Ogboh’s ‘Song of the Union’,
Artist Emeka Ogboh’s (b. 1975, Nigeria) newly commissioned sound installation sited in Edinburgh’s Burns Monument is a response to the ongoing theatre surrounding the U.K.’s departure from the European Union.
The sound installation features the recorded voices of citizens from each nation state of the European Union, singing Auld Lang Syne – a song which has come to represent solidarity, friendship and open doors – in their mother tongue. The resulting polyphonic choir affects a complex interweaving of language, syntax, cadence and rhythm.
Captioned video about the work: https://www.youtube.com/watch?v=pWlMrXVVXu4
Collective Gallery – Christian Newby’s ‘Boredom>Mischief>Fantasy >Radicalism>Fantasy’,
Christian’s new commission responds to the City Dome at Collective, originally built to house an astronomical telescope, with a large-scale textile – Flower-Necklace-Cargo-Net and an accompanying printed newspaper.
The new tapestry combines Christian’s mark-making with industrial carpet tufting to explore how questions of labour, authorship and materiality define the fine and applied arts. Made using an industrial hand-held carpet-tufting gun, Christian explores the potential capacity of this machine as a mark-making tool rather than its primary function in a rote manufacturing process. By using the tufting tool’s nimbleness as an equivalent to a pencil, spray can, paintbrush, or tattoo needle, Christian questions how textile works are positioned between art and craft.
Image description: In the centre the Burns Monument dominates as the image has been taken from a low angle. The Monument is a neoclassical building, made of sandstone, with six columns supporting the roof of the building. A stone path is in the lower centre of the image, with grass verges on either side, showing the slight hill in which the Monument stands. In the doorway of the image is a tall free-standing speaker. On the right hand side is a green luscious tree, with a black wrought iron fence dividing the tree from the grass verge of the Burns Monument. In the background on the left is the Old Royal Highschool with Calton Hill’s Nelson Monument visible in the centre above the Old Royal Highschool building. In front of the Old Royal Highschool is Regent Road, with a street light, and a green hedge dividing the road from the grass verge of the Monument.