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Scotsman
3 days ago
- Entertainment
- Scotsman
Edinburgh Art Festival reviews: Lewis Hetherington and CJ Mahony Louise Gibson & more
Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Lewis Hetherington and CJ Mahony: who will be remembered here, EAF Pavilion Edinburgh ★★★★★ Hamish Halley: please keep, The People's Story Museum, Edinburgh ★★★★ Louise Gibson: Beachheads, Edinburgh Sculpture Workshop ★★★ Ring of Truth, Blackie House Library and Museum ★★★ Advertisement Hide Ad Advertisement Hide Ad Peter Kennard, Palestine Museum, 13A Dundas Street, Edinburgh ★★★★ In the past, Edinburgh Art Festival had something of a reputation for opening up unusual spaces around the city as venues for its commissioned programme. Now, the focus has shifted towards events and performances, like Raven Chacon's extraordinary Voiceless Mass, performed in St Giles Cathedral on 9 August. Bea Webster in a still from who will be remembered here, by CJ Mahony and Lewis Hetherington | Tiu Makkonen However, the festival is hosting one major exhibited work, the film who will be remembered here by Lewis Hetherington and CJ Mahony, which is being shown at the EAF Pavilion, a former office building on Leith Street currently repurposed by the organisation Outer Spaces into studio space for artists. Funded in part by the Scottish Government's Festivals EXPO Fund, this is a strong piece of work with high production values. The format is simple: four queer writers are filmed delivering monologues they have written at Historic Environment Scotland sites. Robert Softley Gale is at Biggar Gasworks, Robbie Macleòid at Fort George, Harry Josephine Giles at Dun Telve and Dun Troddan Brochs in Argyll, Bea Webster at Machrie Moor Standing Stones on the Isle of Arran. Each uses a different language of Scotland: English, Gaelic, Scots and BSL. Advertisement Hide Ad Advertisement Hide Ad Taken together, their thoughtful, considered responses cast new light on the landscape of Scotland's past, from the prehistoric to the post-industrial. They remind us that place is not neutral; for much the same reasons that the victors tend to write the history books, so buildings and landscape can be weighted towards one kind of story, thereby excluding others. The monologues are beautifully filmed and there is enough space around them to allow each to have its proper impact. And while the focus of the film is on queer spaces, it opens up other questions as well. What does it mean to be a wheelchair user in a space in which only the able-bodied were allowed to work? Or to be a Gael inside the military stronghold built by the British government to control the Highlands in the days of the Jacobite rebellions? It's a reminder that art - if it's good enough - can open up beyond specific concerns to address a wider audience. A still from please keep by Hamish Halley | Courtesy of the artist Meanwhile, Platform, the EAF showcase for emerging artists, has morphed into an 18-month Early Career Residency. The first recipient, Hamish Halley, is exhibiting in an attic room at the People's Story Museum on the Canongate. Having worked in a range of other media, Halley turns to film in this show with a thoughtful 20-minute piece, please keep. Advertisement Hide Ad Advertisement Hide Ad He interlaces two stories: the moving of Perth Museum's natural history collection as part of its recent refurbishment, and his family's clearing of his grandparents' house. The house contained a quantity of nature books, and the soundtrack of the film is made up of readings about ponds, insects and birds, punctuated by incidental conversation between family members. Images of stuffed wild animals and empty museum cases are woven into footage of the house-clearance. The two stories begin to talk to one another about what we keep and why, what is remembered and how we make sense of the past. Materials can often be said to have memory, and that's certainly true of the recycled metal in Louise Gibson's exhibition, Beachheads, at Edinburgh Sculpture Workshop. These abstract sculptures are made from repurposed metal objects, always in pairs: two baths, two car doors, two filing cabinets, two radiators, two metal wheelie bins. They have been crushed or folded, filled with pieces of dyed textile or scaffolding mesh, so that the soft materials appear to be squeezed out of the hard, reduced forms. Advertisement Hide Ad Advertisement Hide Ad Gibson is working with formal sculptural considerations - colour, shape, texture, weight. Often, the pieces are propped up on, impaled on or suspended from steel bars. The existing objects are transformed or repurposed, survivors of the constant cycle of manufacture and obsolescence which props up consumer capitalism. And yet there is also a sense in which that transformation is fluid and ongoing. Material properties are held open to question: textiles are hardened with resin, hard metal is crushed. When the exhibition is over, will they be recycled too? Will the cycle of change go on? Blackie House | Contributed Understanding - or failing to understand - an object's history is central to Ring of Truth, a playful exhibition at Blackie House Library and Museum, home to the extensive historical collection of American scholar Bill Zachs, and now a registered Scottish charity. The starting point for this show is a series of manuscript fragments once believed to be Coptic musical notation from the fourth or fifth century. Recent investigations revealed that they are much more modern: early 20th-century paint on 15th-century vellum. Yet this seems to create more questions than it answers: are they fakes, or were they created with another purpose in mind? Advertisement Hide Ad Advertisement Hide Ad This lack of information creates a space in which artists can work. A group of musicians have produced an album, Sun God Fraud Squad, and artists Alan Grieve and Eddie Summerton have collaborated on what Grieve calls 'a Coptic media wall' with miniature effigies attached to it in hand-made duty-free plastic bags. Life-size versions of the same effigies were used to make a film at a car racing track. It's all well made, subversive, a touch irreverent. At the other end of the room, Julie Johnstone's works on paper are calm and formally rigorous. Drawing on the geometrical shapes used in the manuscripts, she makes precise, quiet forms with clean lines. Among these are placed objects and books from Zachs' collection: Egyptian figurines, early books on Scottish music, Ian Hamilton Finlay's (H)our Lady sundial, a 3D printed dodo skull. It's a quirky and surprising show, at times as mysterious as the manuscripts themselves. Meanwhile, at the Palestine Museum, which opened earlier this year on Dundas Street to showcase Palestinian art from around the world, Peter Kennard weighs in with a set of Palestine-themed photomontages. Advertisement Hide Ad Advertisement Hide Ad Kennard, who has been creating defiantly political images for more than 50 years, isn't known for beating about the bush, and he doesn't do that here. An emaciated body wears a headdress of missiles, an American flag bleeds on to a Palestinian one, an arm wearing Israeli insignia cuts away the tubes giving life to a malnourished baby. An hourglass has a skull in the top half, in the bottom - along with most of the sand - is a Palestinian flag. The phrase 'Never again' is written on a chalkboard, but the word 'Never' is being erased. It's not subtle, but plenty of people would agree that Palestine has run out of time for subtlety. It's art which hits you like a punch in the guts, and my hunch is that is no less than the artist intends.
Times
4 days ago
- Entertainment
- Times
The 8 best shows to see at the Edinburgh Art Festival 2025
All human life is at the Edinburgh festivals (sometimes, walking on the Royal Mile, it feels as if that's literally the case). It has never been entirely clear to me why they all happen at the same time, the Fringe and the International Festival crashing into the film, book, TV and art jamborees every August, but one advantage for the Edinburgh Art Festival (EAF) is that it can provide a welcome respite from the noise. As a body that commissions work and provides an umbrella for exhibitions that would be happening anyway, the EAF can feel frustratingly disparate (and the website is maddening), but there is still much to enjoy. Of the commissions this year, Lewis Hetherington and CJ Mahoney's delicate film about queer Scottish lives obscured through history is the strongest, and can be found in the festival pavilion at 45 Leith Street, a disused office building given over to artists' studios (some are open to visitors on certain dates). • Edinburgh Festival 2025: the best shows to see this year And as ever, slipping into a gallery and shifting your mindset for an hour or so, especially if you've spent the past few hours being aggressively entertained, is always worthwhile. Here are the top shows. ★★★★☆A fascinating exhibition that uses fabulous paintings, books, jewellery and other objects to reveal a man about whom English audiences at least may have a pretty fuzzy idea, overshadowed as he has been by the travails of his descendants (especially Charles I and II) and his mother (Mary, Queen of Scots). It reveals a complex, intelligent, devoutly religious king scarred by childhood trauma but given to breathtaking arrogance; a dog lover, fashion plate and patron of the arts who hated smoking almost as much as he hated witches, and who managed to hold together two fractious nations, but had a weakness for pretty young Galleries, Scotland: Portrait, to Sep 14, ★★★☆☆Curated by the IKEA Museum in Almhult, Sweden, this jolly exhibition traces the early development of the massive interiors brand's textile division and highlights the designers behind some of its most popular fabrics (such as Inez Svensson's banana print — a nice detail is that when she died in 2005 she requested her coffin be draped in it). It's really only mildly interesting, but it's enjoyable, and does make you want to buy new cushions. Dovecot Studios, to Jan 17, • Edinburgh festivals 2025: the best theatre, music and dance shows ★★★★★It's rare to see Andy Goldsworthy's work inside a gallery — mostly he makes it in the landscape, out of natural materials, then leaves it to the mercies of nature, often to disappear altogether. This poetic, gently witty, quietly magical show includes photography and video documentation of some of his more ephemeral works, as well as objects and large installations that recognise and pay tribute to our integral relationship with the land. With works ranging from an elegiac room of stones displaced by human burials to vast paintings made by the muddy feet of hungry sheep, it's a strangely touching experience that makes you want to immediately tramp up Arthur's Seat, fires permitting, and hold your arms Scottish Academy, to Nov 2, ★★★★☆With their quiet clarity, soft palette and domestic focus, the paintings of the Philadelphia-based artist Aubrey Levinthal feel familiar in a way that is comforting yet disquieting. Revolving around life with her husband, son and friends, they are full of relatable detail that you rarely see in painting — a Tupperware containing the remnants of lunch; the startling black of a laptop screen reflecting an overhead light; a charger; discarded hoop earrings; an escapist scribble of spaghetti; drooping houseplants; children clustering around an iPad. She skilfully evokes, too, the solitude that comes with the territory of artist — and motherhood. Don't miss her prints in the hallway of the gallery, or the small exhibition upstairs of gorgeous canvases by Mia Kokkoni, a recent graduate based in Gallery, to Sep 13, • Edinburgh Fringe Festival 2025: the best comedy shows to see ★★★★☆The glorious sculpture park of Jupiter Artland is always worth visiting, but every summer a couple of new commissions are presented there, and the standout this year is the film-maker Guy Oliver's new piece, Millennial Prayer. Looking back at the day we briefly thought the clocks were going to stop, this hour-long, highly entertaining exploration of a cultural moment that was hugely significant and a complete damp squib wields deadpan humour to create a nonchalantly acute social Artland, to Sep 28, ★★★★☆Exquisitely made and totally compelling, this exhibition by the Egyptian artist Wael Shawky centres on two films about politics and history. The two-hour epic (part of a trilogy) Cabaret Crusades III: The Secrets of Karbala uses intricate glass marionettes, some of which are on display ('We are all like marionettes, manipulated by forces we cannot see,' he says), to give an Arab perspective on the context and motivation underpinning the Crusades. The strange but stunning Drama 1882 is an operatic rendition of Egypt's abortive nationalist Urabi revolution against imperial rule, undermined by the British to protect its interests in the region and leading to Britain's occupation of Egypt until 1956. Most visitors won't sit through them, but they're really worth your time. Talbot Rice Gallery, to Sep 28, • Read more art reviews, guides and interviews ★★★★☆At the heart of Edinburgh's Royal Botanic Garden, Inverleith House feels like an oddly appropriate location for this 50-year survey of work by the post-punk feminist artist Linder, who often draws on floral imagery to wittily subvert the tropes of femininity. Her scalpel-sharp, surgically executed photomontages critique conventional assumptions about gender and sexuality. From soft porn spliced with images of domestic appliances to photographs of the working-class drag clubs of 1970s Manchester, she kicks hard and precisely where it hurts. Inverleith House, to Oct 19, ★★★☆☆Mike Nelson creates immersive environments from salvaged materials that are stuffed with cultural references. They're not always easy to read, and this, a study in the politics of construction and destruction across all three gallery spaces, is no different — the short film upstairs, in which he reluctantly explains where he's coming from, is by far the most helpful place to start. Based on two sets of photographs — one of Mardin, a predominantly Kurdish city in Turkey that was at the time in a remarkable state of infrastructural redevelopment, and one of an unnamed London housing estate in the last silent days before its destruction — it's a cumulative experience that is more poetic and atmospheric than expressive. Make sure you visit the warehouse section of the gallery (through the café, then through a big metal door) or you'll be to Oct 5, Follow @timesculture to read the latest reviews
Edinburgh Reporter
07-08-2025
- Entertainment
- Edinburgh Reporter
Edinburgh Art Festival 2025 – EAF Pavilion now open
Edinburgh Art Festival begins today, with a packed programme of commissioned works, special events and partner exhibitions. Themes of this year's festival include political shifts, environmental change and global social movements, all filtered through the painting, sculpture, performance, moving image and photography of local, national and international artists. This year the festival is based in the new EAF Pavilion hosted by Outer Spaces at 45 Leith Street. The Pavilion will be open 10am-5pm every day until 24 August, and will include a Welcome Space where you can find information about the festival, artists' research and the Festival shop. Bea Webster in who will be remembered here (c) Lewis Hetherington and CJ Mahony Several commissioned works will be shown in the Pavilion; Lewis Hetherington and CJ Mahony's who will be remembered here is a moving film in which four queer writers respond to Historic Scotland sites. Each writer employs a different language. Bea Webster's BSL contribution is especially touching, as they contemplate what might have been the experience of deaf, queer people inhabiting the land around the Machrie Moor Standing Stones long ago, and question what happened to those people's stories. Meanwhile, Trans Masc Studies: Memory is a Museum traces the history of masculine-leaning gender diversity in Scotland, Jj Fadaka and Ria Andrews' My Blood Runs Purple interrogates the subject of historically marginalised bodies and healthcare, and Alice Rekab's Let Me Show You Who I Am addresses themes of diaspora, migration and Irish and Black identity. As Edinburgh Art Festival (EAF25 opens today) Director of the festival Kim McAleese and Curator Eleanor Edmonson stand with a new billboard work created by Alice Rekab that delves into themes of diaspora, migration, and Irish and Black identity. Pic Neil Hanna Outer Spaces is a charity giving artists access to free studio space in empty office buildings across Scotland. 45 Leith Street is just one of their projects, with about 100 artists working in the building. This year the charity and EAF are together presenting HOST, a new artist residency giving early-career artists studio space in Edinburgh for six months. Visitors are invited to explore the HOST artists' practices every Saturday during the festival. View from the terrace on the fifth floor of Outer Spaces on Leith Street Jillian Lee Adamson is a HOST resident; often sewing for ten hours a day, she employs slow stitching to make intricate, beautiful embroidery cells. The delicate appearance of her work 'belies its true strength, symbolising the incredible resilience and inner strength within us all.' (c) Jillian Lee Anderson Jillian's studio has a spectacular view over the city and the Forth, with doors opening onto an airy terrace. The one downside of Outer Spaces studios is that tenants may be asked to leave at any time if the landlord requires the building for its own purposes, but the charity is doing everything it can to offer tenants an alternative space. The average stay in one studio is 9 months to 3 years. Another major EAF commission takes place at the Royal Botanic Garden. Inverleith House will host Linder's Danger Came Smiling, her first retrospective in Scotland, while on the evening of 7 August this pioneering feminist artist will perform A kind of glamour about me, reflecting on the transformative power of creativity to shape identity and social mobility. Seminal feminist artist and icon, Linder Sterling live pastes a new, large scale art work onto billboards to mark the launch of Edinburgh Art Festival (EAF25, 7-24 Aug) and this year's programme partnership with JACK ARTS part of BUILDHOLLYWOOD Scotland. Linder is performing within the EAF25 programme on Thursday 7th August as well as having her first major Edinburgh retrospective, both of which take place at the Royal Botanic Gardens, Edinburgh as part of EAF25. Pic Neil Hanna Partner galleries, venues and public buildings offer a wide spectrum of exhibitions, installations and performances, from The Scottish Gallery's Decades, a celebration of Victoria Crowe's 80th year, to the Scottish National Gallery's acclaimed Andy Goldsworthy: Fifty Years, Fruitmarket's Mike Nelson installation, and the UK premiere of Raven Chacon: Voiceless Masses, performed by Scottish Ensemble at St Giles' Cathedral on 9 August. Chacon's composition explores the deliberate silencing of voices within colonial and institutional frameworks, in particular the complicity of the Catholic Church in the suppression of Indigenous voices, and the abduction and abuse of Indigenous children in residential schools in the Americas. The Garden (c) Sian Davey At Stills Centre for Photography, Sian Davey's The Garden documents the artist's and her son's transformation of their Devon garden into a wildflower haven and a community space. From 8 August Blackie House Library and Museum will host Ring of Truth, in which contemporary artists and musicians respond to the enigmatic Music of the Spheres manuscripts, believed to be Coptic compositions from 5th-6th century Egypt. At Edinburgh Sculpture Workshop you can see Megan Rudden's Love in the Ecotone, exploring the relationship between sculpture and language, and Louise Gibson's Beachheads, a series of monumental sculptures crafted from discarded industrial and household materials, highlighting the excesses and wastefulness of consumer culture. Still in Leith, Customs Wharf presents Orcadian artist Brandon Logan's paintings; drawing from Orkney's environment and culture, Little Low Heavens channels a new queer take on minimal abstraction. Edinburgh Printmakers are presenting two exhibitions. Aqsa Arif's Raindrops of Raini, a multimedia installation encompassing film, textile screenprints and sculpture to probe themes of fractured identity, displacement and cultural synthesis. Hall of Hours, Robert Powell's multimedia exhibition, is inspired by mediaeval Books of Hours, inviting audiences to consider the passage of time and how humans relate to it. Artist Aqsa Arif is photographed at her exhibition Raindrops of Rani which opens at Edinburgh Printmakers on Friday 1st August and runs until 2nd November and is part of Edinburgh Art Festival. In the exhibition Arif weaves together lived memory, generational trauma and South Asian folklore into an immersive installation featuring reactive printed tapestry on velvet. Through film screenprints, photography and sculpture, the exhibition explores displacement not only as rupture but also as a site of resilience and reconnection. Pic Neil Hanna 07702 246823 The Art Festival's Civic programme involves year-round collaborations with artists, individuals and communities who find alternative ways to organise through art, providing the space for longer-term creative collaborations and aiming to make public spaces and the art world more accessible, engaging for those who have previously been excluded from them. The Community Wellbeing Collective in Wester Hailes is a socially engaged, community-led, art collective of 30+ people living in or connected to the area. On 16 August, CWC will host What We Make With What We Have, a shared meal and a discussion about ways in which communities and individuals can create possibilities in times of crisis. The Travelling Gallery will be out and about with its new group exhibition. SEEDLINGS: DIASPORIC IMAGINARIES, curated by Jelena Sofronijevic, explores ways to connect with our worlds through other-than-human perspectives, and seeks to destabilise systems that favour scientific theory and marginalise ancestral knowledge and indigenous cosmologies. Catch the gallery at Coburg Studios on 9 August, CWC in Wester Hailes on 11 August and The Ripple, Restalrig Road, on 14 August. At The People's Story Museum on the Canongate, EAF's first early career artist-in-residence Hamish Halley's installation narrates two stories; the cleaning of his grandparents' home after their deaths and the transition of Perth Museum's collection to a new space. As well as developing his practice, Hamish is working with local communities through discussions, events and workshops, inviting people to reflect on their own relationships with memory, place and transformation. Hamish will offer a tour of his work on 14 August. Sett Studios on Leith Walk will offer two unusual exhibitions. On 8-10 August FRIENDS WITH BENEFITS invites all supporters of the studio to run the space, bringing in their own work for a packed salon-style show. And from 22 to 24 August Get in Loser, We're Going to Sett Studios will feature an array of artmaking mediums, approaches and concepts from SETT studio residents. Climb up to Calton Hill to visit Collective, which will host Fire on the Mountain, Light on the Hill, Mercedes Azpilicueta's first solo exhibition in Scotland, a monumental tapestry exploring care and resistance, revealing overlooked female histories. There will be a special live performance on 22 August. Climb down again to visit Edinburgh College of Art at Inspace on Crichton Street for two exhibitions focusing on artists' responses to AI. Tipping Point features seven new works by artists including Rachel Maclean and Julie Freeman, while in Authenticity Unmasked: Unveiling AI-Driven Realities Through Art (note: this one ends on 17 August), three artists present works to prompt reflection on when authenticity matters and what shapes perceptions of human versus AI-mediated content. And if you need to get out of festival city, take a trip to Jupiter Artland in West Lothian to see their three current exhibitions, Jonathan Baldok's WYRD, Guy Oliver's Millennial Prayer and WORK BEGAT WORK, pairing the work of Ian Hamiton Finlay and Andy Goldsworthy, two artists central to Jupiter Artland's history. On the evening of 23 August, EAF's closing event will take place at Firststage Studios in Leith. Bornsick, co-commissioned with Serpentine, is a new performance by queer movement artist Lewis Walker. It will reflect the idea that we inherit illness, born into a system that shapes us before we can define ourselves. Finally, on 24 August at the EAF pavilion, the Festival's closing conversation Where Do We Stand? will include open conversation, film screenings, performance and shared food, all centered on the world we live in, how we shape it and how it shapes us in return. Some of these exhibitions and events are ticketed; many are free. For details, visit the Festival's website or pick up a programme from EAF Pavilion. Jj Fadeka in their studio at The Cube, 45 Leith St, Edinburgh. Photo credit Sally Jubb Like this: Like Related
The National
06-07-2025
- Entertainment
- The National
Edinburgh Arts Festival film sheds light on invisible Scottish stories
In a year that marks the 30th anniversary since the first major Pride event in Scotland, an attempt is being made to reconnect queer people with the past, as well as bring in voices of other marginalised groups and the languages of Scots, Gaelic, British Sign Language (BSL) and English. The film, titled who will be remembered here, made by artists Lewis Hetherington and CJ Mahony, features four queer writers who have responded in different languages to sites in Scotland spanning ancient to modern history. Previews of the film have already been well received, including from a community group in Glasgow's Easterhouse, who were particularly moved by Robert Softley Gale's visit to the now-defunct Biggar Gasworks. READ MORE: 'Their love for Scotland made my heart sing': George Ezra hails Scottish folk group 'In Robert's film, he reflects on his cerebral palsy and how he's been challenged his whole life to explain what his purpose or function is, so this industrial site – which is built for such a specific function – becomes an interesting tension,' said Hetherington. 'He goes on to talk about fatherhood and actually how that connects to a sense of purpose.' Hetherington said they had been 'bowled over' by the response from the Easterhouse community. 'There were quite a number of people in the audience who spoke up in the discussion afterwards about their own experience of disability, saying they'd never felt so seen and felt really celebrated,' he said. 'We'd be overjoyed if it makes people feel more confident to speak up about who they are and what they've gone through.' Softley Gale's section is in English, while the section from Harry Josephine Giles, who visits two brochs, is in Scots. Bea Webster, who is filmed at standing stones on Arran (below), uses BSL. Robbie MacLeòid visits Fort George, with his section in Gaelic – appropriately for a place that has an oppressive and dark history within Gaelic culture. 'Webster's approach to the Arran standing stones is also interesting as they have Thai heritage and this has led to some people assuming they have no connection to Scottish history even though they have grown up in Scotland,' said Hetherington. The film begins at dawn at Biggar, moves to Fort George, then south of Skye before finishing at Arran in the evening. 'There's this sense of going from most recent past to the most distant as well as from the beginning of the day to the end,' said Mahony. 'The film is very, very beautiful and it is hard to convey just how tender the pieces are and how there's a real intimacy that's created. A lot of people have said how connected they felt, even though it's mediated by a screen.' The pair pointed out that many of the stories of people whose lives have been part of Scottish history have never been recorded. 'It's not just queer people who have always existed – it's all sorts of marginalised voices and identities,' Hetherington said. READ MORE: One-woman play will explore consequences of explosion in extreme sex acts on OnlyFans 'That's how we came to work with four different languages because it quickly became apparent how the languages that are so prevalent in Scotland are often still not considered as part of the mainstream story. 'We wanted to think about how we could address that and reflect a broader spectrum as well as look at the purpose and use of places across Scotland.' The project was in partnership with Historic Scotland. Hetherington said the organisation had been keen to help explore how these stories could be told and create kinship with queer lives who are part of the country's heritage. 'It has been a really significant project for them in terms of a new approach to historical interpretation and we've already been invited to speak at a number of conferences about this as a case study of how to interpret sites, such as the World Heritage conference which took place in Stirling last year,' said Hetherington. A book has also been produced to accompany the exhibition, with 12 writers commissioned to contribute pieces about their queer history. Unlike the films – which are responding to sites deemed historically significant and in Historic Scotland's care – the writers talk about places which are not well known but are very significant to the authors' personal history. 'So we have moments of queer revelation, celebration, or emancipation on mountainsides, in amusement arcades, in libraries and more,' said Hetherington. The writers are Ali Smith, Amanda Thomson, Ashley Douglas, Damian Barr, Ever Dundas, Ink Asher Hemp, Jeff Meek, Johnny McKnight, Lousie Welsh, Mae Diansangu, MJ Deans and Rona Munro. Hetherington and Mahony also contributed a piece. As well as trying to connect people with Scottish history, it is hoped the project can be an archive for the future. 'I think in the context of politics at the moment, it's really important for people to see those intersections of lives and identities present on screen and for those stories to be told,' said Hetherington. 'We hope these voices won't be erased the way they maybe have been in the past.' He said he also hoped people would feel a shared sense of humanity through watching the film. 'Sometimes, when we're trying to look at history in a different way, perhaps through a feminist or a queer lens, people might think it is for a specific audience,' Hetherington said. READ MORE: Artist's lens brought to bear on impact of austerity in new exhibition 'But actually, these are things that are all our history. It's all our nation. 'The thing that excites me is the idea that people, whoever they are, will be able to see themselves in Scottish history, challenge or question Scottish history and fall in love with it again.' who will be remembered here is showing every day from August 7-24. It is 30 minutes long, with screenings every 45 minutes, from 10am at the EAF Pavillion, 45 Leith Street. The book, who will be remembered here, will be available to buy from the EAF Pavillion and a special event is also being held as part of Edinburgh Book Festival on August 17.
