A major public rally and a three-night marathon of cultural events have been announced this week in a effort to save The Complex, one of Dublin’s most important independent, artist-led cultural spaces. Facing an eviction notice to quit its premises on January 13, 2026, artists, supporters, and members of the public are mobilising to demonstrate the scale of support for urgent Government intervention.
The rally will take place on Wednesday, December 17, at 12.15 pm, beginning at The Depot at The Complex, 12 Mary’s Abbey, Dublin 7, before marching to Dáil Éireann. Organisers are calling on artists, cultural workers, and the wider public to show solidarity and witness the delivery of a petition signed by more than 15,000 people calling for The Complex’s future to be secured.
Alongside the rally, The Complex will host three nights of free marathon cultural events, running from Wednesday, December 17 to Friday, December 19. Each evening will feature an ambitious and diverse programme of live music, dance, performance and special guests, with artists revealed daily. Confirmed participants include Junior Brother, Dónal Dineen, Izumi Kimura, The Scratch, Curtisy, Cruel Sister, BIG SLEEP, Ahmed With Love, Rory Sweeney, Kayleigh Noble, Pippa Molony, WineMom and many more.
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The Complex has long been recognised as a cornerstone of Dublin’s cultural ecosystem. Supporting music, theatre, dance, live performance, film and visual art, it offers a flexible, experimental environment that adapts to each project it hosts. It is a stable client of both the Arts Council and Dublin City Council, yet faces displacement in a city where affordable, suitable cultural spaces are increasingly scarce.
Campaigners stress that there is still time to act. A commitment from the Department of Finance and DPER to fund the initial tranche for the purchase of the building would unlock the remaining budget and secure a permanent home for The Complex.
Artists have spoken starkly about what is at stake. Bill Harris of Ormond Studios highlighted the absence of any meaningful framework to support artist organisations during upheaval, while artist Sean Lynch described spaces like The Complex as internationally rare, community-led and vital to cultural ambition.
As Ireland’s global reputation for film, music and visual art continues to grow, supporters argue that cultural infrastructure must not be allowed to erode. Initiatives such as the Basic Income for the Arts ring hollow, they say, if artists have nowhere to work. Without spaces like The Complex, the future pipeline of creative talent is at risk.
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