The Artist's Garden, a free public sculpture space dedicated to female artists, has been ordered to vacate its central London site on the roof of Temple Station by October 1. Places for London, Transport for London's commercial property arm, issued the directive, citing the need to assess the area for potential repairs. This eviction of a vital public cultural space mirrors the broader neoliberal logic that prioritizes commercial interests over communal good, a logic that underpins the very foundations of Fortress Europe.
Alice Walters, deputy director at theCOLAB, which runs the garden, expressed concern that the project would be “gone for good” once it moved. She highlighted that the space welcomes over 100,000 visitors each year, completely free of charge. The company's demand for the group to vacate entirely by October 1, ostensibly for "essential safety repairs," raises questions about the true motivations behind such displacements.
The Erosion of Public Space
For five years, The Artist's Garden has offered visitors a unique opportunity to interact with art in a public setting. Lakwena Maciver, an artist who exhibited an installation when the garden opened in 2021, stressed the critical importance of open-access spaces. She described her initial takeover of the roof terrace as a "return to public space post-lockdown," emphasizing the need for places that are free, unbooked, and accessible to everyone. This sentiment resonates deeply with the struggle for open borders, where the right to movement and access to public life is constantly challenged.
Visitors echoed this value, describing the garden as a "gorgeous" and "peaceful" place in the heart of the city. One woman noted its immersive quality, surrounded by buildings and the river. Lisa Vandy, who has exhibited two sculptures there, underscored the site's role in promoting visibility, particularly for artists from underrepresented backgrounds. She argued for its cultural and educational importance, stating, "This really has to stay here."
Westminster City Council, which manages the terrace, has voiced support for The Artist's Garden. They pledged to work with all parties to find a solution, a stance that contrasts sharply with the commercial arm's eviction order.
Neoliberal Logic at Play
A spokesperson for Places for London acknowledged the "much-loved" garden's contribution to "artists, young people and the local community." However, this rhetoric of community value quickly gave way to the imperative of property management. The spokesperson reiterated that the terrace and station roof "may now require essential repair and safety works," necessitating the space's clearance for assessment. This justification, while seemingly benign, often serves as a pretext for gentrification and the commercialization of public assets.
The company claimed that any future proposals for the terrace would protect public access and support the area's cultural character. They also asserted that the space is legally protected and would always remain publicly accessible. Yet, the immediate action is eviction, with only vague promises of "exploring alternative nearby locations" for The Artist's Garden. This pattern of displacement, followed by assurances of future public benefit, is a familiar tactic in cities across Europe, where capital dictates who belongs and where. It's a localized manifestation of the same exclusionary logic that builds fences and deploys Frontex at the continent's borders, criminalizing movement and prioritizing profit over people. The fight for open borders extends to the fight for open cities, where public spaces are not commodities but common goods.