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Summerhall Arts announce CATALYST: Art as Activism, four new solo exhibitions for 2026

Summerhall Arts presents CATALYST: Art as Activism, a season of four solo exhibitions that position contemporary art as a sustained, embodied form of resistance.

Summerhall Arts announce CATALYST: Art as Activism, four new solo exhibitions for 2026

Article Source: Summerhall
Last Updated: 9 January 2026 11:47

Bringing together artists whose practices actively challenge social, political, and environmental injustice. The programme foregrounds lived experience as a site of knowledge, agency, and change.

The exhibitions expose the systems of power that determine whose lives are valued, whose bodies are controlled, and whose environments are sacrificed. Rather than offering symbolic gestures, CATALYST asserts activism as an ongoing practice—one rooted in material histories of labour, violence, care, survival, and interdependence, through sculptural installations.

From ecological collapse and capitalist extraction, to migration, disability, futurity, and species-inclusive belonging, the season invites audiences to engage with art that does not simply represent injustice, but confronts it. Imagining more ethical futures shaped by collective responsibility and action.

Samantha Chapman, Head of Visual Arts at Summerhall Arts, said: “CATALYST brings together artists whose practices insist on art’s capacity to intervene in the world. These exhibitions do not offer easy resolutions; instead, they ask audiences to sit with complexity, to recognise their own entanglement within systems of power, and to imagine alternative ways of being that are grounded in care, accountability, and collective responsibility.”

EXHIBITIONS

Eilidh Appletree – Net Worthy

Sciennes Gallery
Net Worthy explores how capitalism accelerates biodiversity loss through extractive systems embedded in industrial agriculture and aquaculture. Visitors enter a submerged seascape where steel fishing nets resemble marine life, fish with human faces sprout fungi, and once-fertile ground collapses into sand.
Using materials including metal, mycelium, soya wax, sand, plant matter, and organic traces, Appletree constructs a visceral environment that exposes the devastation left by profit-driven food production. The installation insists on the intrinsic interdependence of human and nonhuman life, positioning capitalism as a system that endangers all forms of existence.

Eilidh Appletree said: “The materials in Net Worthy are symbols of human-driven environmental destruction. Taken together, the work describes how capitalism endangers all life on earth and reminds us that the fates of humans and non-human animals are intrinsically intertwined.”

Taraneh Dana – A Heart in Exile
Lab Gallery
A Heart in Exile brings together three bodies of work that trace the emotional terrain of migration—its ruptures, expansions, and unresolved tensions. Reflecting on Dana’s move from Iran to the UK, the exhibition unfolds exile as an ongoing political and emotional condition rather than a singular event.

Through clay, sound, and intimate sculptural forms, the works chart grief, gratitude, memory, and identity as shifting states of belonging, offering a quiet yet urgent meditation on displacement and the complexities of rebuilding a life elsewhere.

Taraneh Dana said: “Exile is not a single event but an ongoing condition. Through these works, I try to face myself honestly—acknowledging grief, gratitude, and the strange beauty of rebuilding identity in a new place.”

Molly Wickett – All Day, Waiting for Another Sun to Rise
Corner Gallery
In All Day, Waiting for Another Sun to Rise, Molly Wickett reimagines a post-apocalyptic landscape through a queer and disabled lens. Drawing on the original Greek meaning of “apocalypse” as revelation rather than destruction, the exhibition proposes a world that continues after collapse.

Using forms associated with decay—fallen trees, fungi, eroded matter—Wickett explores “crip time”: an experience of time shaped by disability and difference rather than linear progress. The sculptural landscape reframes ecological breakdown as a site of hope, where Otherness becomes possibility and futurity is reimagined beyond normative frameworks.

Molly Wickett said: “Rather than indicators of what is lost, these sculptures translate a forest’s life cycle into a language of hope. Crip time allows Otherness to become possible, opening a future we constantly move toward.”

Kasia Oleskiewicz – Any Body Home
War Memorial Gallery
Any Body Home emerges from Oleskiewicz’s research into feminism and the rights of nonhuman animals. Examining shared spaces as sites of fear, vulnerability, and interdependence, the exhibition reflects on what it means for bodies—human and nonhuman—to be “given over to another”.

Developed during the Hugo Burge Foundation x Summerhall residency Art as Activism (2024), the works move from commemoration of violence toward imagining a species-inclusive reality in which any body can exist safely, beyond fixed identities of gender, species, nationality, or ability.

Kasia Oleskiewicz said: “I imagine a reality in which any body—human or nonhuman—is safe anywhere they go, beyond identification based on gender, species, nationality, or ability.”

For further information on Summerhall Arts, to get involved or to support please get in touch with info@summerhallarts.co.uk

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