Edinburgh Art Festival 2024 Review: Joyful Highlights to War-Torn Desolation

The grand, dark quadrangle of the University of Edinburgh shines under the glow of contemporary art. A colossal sheet, mimicking fabric, is suspended between classical columns. Fields of cream, gold, and rust adorn the sheet, with sporadic blue waves and scarlet spots suggesting abstract landscapes. An August breeze turns this tranquil piece into a dynamic display of glimmering metal fragments, creating one of the most captivating curtain-raisers in contemporary art.

This masterpiece is by the veteran Ghanaian artist El Anatsui (b. 1944), crafted from flattened liquor bottle caps, tags, and labels, all expertly stitched with copper wire. The artwork speaks to the extensive and meticulous labor that took place in a land historically marked by enslavement. The beautiful spectacle connects poetically to the recycled remnants of colonial trade. More of Anatsui’s stunning works await inside the Talbot Rice Gallery upstairs.

Stepping into the gallery, visitors are greeted by the earliest of his shimmering chainmail weavings from 2001, titled Woman’s Cloth. This piece, made from thousands of aluminum fragments, exudes a tactile authenticity. The artist’s method is plainly visible, revealing the hands-on process of cutting, piercing, and linking the metal pieces into an intricate design. It is displayed jauntily, with its red, black, silver, and gold elements catching the eye.

Opposite this early work is Anatsui’s latest creation, Scottish Mission Book Depot Keta. This piece, inspired by his childhood library in Ghana, is an enormous 13-meter display of gold-yellow discs rising in geological folds reminiscent of Edinburgh’s volcanic terrain. Specially made for this exhibition, it contains playful elements such as tiny scribbles and dots that evoke the first marks made by a child.

Continuing the exploration, Freedom from 2021 delves into the geopolitical undertones within Anatsui’s pieces. Brand names such as “Lords,” “Castles,” and “Chelsea” ribbon through the metallic fragments, intertwining with Ghana’s history. Alcohol, an early import from the West, played a pivotal role in colonial trade, first for gold and later for people. This piece features three forms resembling birds, symbolizing freedom from this historical baggage, and strategically turns a corner, adding depth to its interpretation.

Following the intricate weavings, the exhibition transitions to sonorous prints, early woodworks, and radiant mother-of-pearl oceans. In the Georgian Gallery, Anatsui’s recycled metal formations mimic lace, macramé, and filigree, contrasting with the solidity of tapestries. Those familiar with his remarkable Turbine Hall installation at Tate Modern will recognize the grand scale and diaphanous quality of his work. This exhibition offers a comprehensive look at Anatsui’s art, presenting his range from intimate, lyrical pieces to grand three-dimensional spectacles that resonate with themes of tragedy, humanity, and hope. This exhibition stands as a significant achievement for Talbot Rice Gallery, marking the largest retrospective of Anatsui’s work in the UK.

This exhibition is the centerpiece of a particularly strong edition of the Edinburgh Art Festival. Kim McAleese, the festival’s director since 2022, has infused the event with vital focus by transforming the City Art Centre into the new EAF hub. Located directly opposite Waverley station, this accessible venue with its vibrant banners brings new energy and direction to the festival. The space hosts a diverse range of shows from emerging and established artists.

Among these is Tamara MacArthur, whose warm-hearted reimagining of space includes rose-tinted windows, a hanging garden, and a tabernacle for acts of kindness. On another floor, Polish artist Karol Radziszewski exhibits an archive of Filo magazine, one of the first queer underground magazines in central-eastern Europe, alongside his post-pop portraits of LGBTQ+ icons. Irish artist Renèe Helèna Browne presents a film portrait of their mother, layering meditations on faith and death against rally car movements.

Nearby, the Fruitmarket showcases Ibrahim Mahama, another Ghanaian star, with an exhibition on the construction and abandonment of British-commissioned railways during colonial times. Mahama’s work, like Anatsui’s, repurposes historical artifacts. He creates lifesize charcoal drawings of Ghanaian workers and films that capture the collaborative effort of transforming remnants of colonial infrastructure into art.

Just minutes away, the Collective on Calton Hill features Scottish artist Moyna Flannigan’s delicate collages set against historical themes, with influences from Picasso to Sinéad O’Connor. The Ingleby Gallery showcases Hayley Barker‘s lush California garden scenes, dense with flora and reminiscent of American Vuillard’s style. Further along, the Royal Scottish Academy presents Sir John Lavery’s romantic crowd-pleasers, capturing sunlit locales with timeless appeal.

The most pressing exhibit this year is Home: Ukrainian Photography, UK Words at Stills. This collection documents the harsh realities of life in Ukraine, offering a poignant glimpse into the ongoing conflict. From bombed apartments to displaced citizens, each piece communicates the urgency and resilience of life amidst war, underlining the potency of photography as a form of knowledge.

The Edinburgh Art Festival runs until 25 August.

Source: various