Attending to the emergent debates on tourism and (in)justice, this study critically examines the role of the Walled Off Hotel, Banksy's tourism-artistic intervention in Palestine, in constructing ...justice. Utilising the evidence from 15 in-depth empathetic interviews, it explores the ways in which local residents make sense of the Hotel and how they frame and experience (in)justices. While demonstrating how these interpretations are entangled with the broader geographic, social and political context, the paper discusses how different forms of justice circulate in this particular context. The new knowledge generated contributes to our further understanding of achieving justice-through-tourism as an affirmative praxis, while addressing the broader humanitarian, earthly, or otherwise existential crisis.
•We examine how justice and social sustainability unfold within the oppressed community.•We unpack the role of Western-initiated artistic intervention in constructing justice.•Perspectives of oppressed communities need to be prioritized in tourism development.•Social sustainability requires political action and social transformation.
This article presents research on museums during the occupation and annexation of Crimea since 2014, as well as information relating to institutions in the Kyiv, Kherson, and Zhytomyr regions of ...Ukraine following Russia’s full-scale invasion in 2022. The first part of the article analyzes the situation of the Museum of Crimean Tatar Heritage housed in the sixteenth-century Bakhchysarai Palace. In the second part, the article discusses museums dedicated to Joseph Conrad, Polina Rayko, and Maria Prymachenko, together with activist ‘open-air’ museums by Banksy in the de-occupied part of the Kyiv region. With these geographical emphases, this article complements others in this collection.
During the 2010 documentary Exit Through the Gift Shop, the English artist Banksy, speaking with an altered voice, shows to the cameraman and co-star of the film Thierry Guetta boxes full of fake £10 ...banknotes. On the note instead of Queen Elizabeth is depicted Lady Diana. After the movie, the Di-Faced Tenner becomes an object particularly coveted by art enthusiasts or simple last hour fans of Banksy. Fake Tenners started circulating on eBay: full-fledged fake fakes. The boundary between authentic and fake in Banksy’s work becomes very blurred. The Di-Faced Tenner’s story becomes just one of many examples of how the whole of the English artist’s work moves on that border, making his fortune, but also that of others. The paper covers the entire history of the Tenner through articles, archive news and specialized forums. The false Di-Faced Tenner, which is the counterfeiting of a counterfeit, is just one of the many pieces that allow the Bristol artist to sell his originals at such high prices. Through the Tenner’s path, the research attempts to demonstrate how the concept of Fake in Banksy’s work is a fundamental aspect of his commercial success.
Banksy's subversive gift Hansen, Susan
City (London, England),
20/3/4/, Volume:
22, Issue:
2
Journal Article
Peer reviewed
This paper discusses the fate of Banksy's (2014) Mobile Lovers which was painted overnight on the door of the Broad Plains Youth Club in Bristol. The subsequent removal of Mobile Lovers from the ...youth club for safeguarding in the Bristol Museum afforded the work a seemingly neutral zone of protection. However, the museum was also represented as an agent of the city, and as a democratic space, where visitors, as 'the people', were encouraged to record their own preferences for the future of the work. Rancière's conceptualization of democracy as a disruptive process, rather than an established consensual state of affairs, is employed to challenge an understanding of the museum's strategies as self-evidently democratic. Despite the high profile dispute between the youth club and the City of Bristol over who should be considered the proper beneficiary of Banksy's work, it was agreed that it should be considered a 'gift' to the community and should thus be protected. The case of Mobile Lovers sets a socio-moral precedent for the safeguarding of street art, as it represents a novel recognition of the wishes of the community and the intentions of the artist in determining the fate of street art, and a rare acknowledgement of the moral rights of street artists to determine the first distribution of their work, over the rights of property owners, who are otherwise able to claim the tangible artworks on their walls as individual, rather than community, property. Ultimately, the perception of street art in socio-moral terms as a 'gift' enabled an orientation to, and subversion of, the legal strictures currently prohibiting the recognition of the moral rights of street artists.
All’inizio degli anni 2000, lo street artist Banksy iniziò a diffondere le sue rappresentazioni (disegni a stencil, graffiti, tag e varie altre tipologie di interventi) nelle strade di Londra. Ancora ...semisconosciuto, durante l’arco che, in modo approssimato, si può definire tra il 2000 e il 2010, l’artista di Bristol costruì la sua fama mondiale grazie ad un costante programma di interventi di arte urbana praticata illegalmente nelle strade della capitale britannica. Il presente contributo si propone di esaminare e ripercorrere storicamente le incursioni di Banksy nel panorama visivo della città durante il primo decennio del nuovo millennio, realizzate con il chiaro e dichiarato intento di stimolare la coscienza degli osservatori. In effetti, l’opera del celebre street artist, infatti, può essere interpretata insieme come specchio e reazione ai rapidi cambiamenti economici, sociali e culturali di Londra all’alba del nuovo millennio, oltre che come pietra miliare nella recente storia dell’arte di strada. Il Cans Festival, organizzato da Banksy nel 2008 in un tunnel dismesso della stazione di Waterloo, portò definitivamente alla luce e all’attenzione dei media questa tipologia di interventi artistici, organizzando un incontro tra street artists di tutto il mondo e costituendo così le premesse per le numerose azioni artistiche di tipo legale che ancora oggi continuano ad essere effettuate nello spazio pubblico di Londra. At the beginning of the 2000s, street artist Banksy begins to spread his representations (stencil drawings, graffiti, tags and other kinds of interventions) all over London’s roads. Still almost un-known, between 2000 and 2010, the artist from Bristol builds his world-wide fame thanks to a constant program of illegally-realized urban art actions through the roads of United Kingdom’s capital city. The purpose of the article is to examine and retrace the history of Banksy’s early actions in the visual landscape of the city, focusing on their aspects of strong politic and social criticism, realized with the clear intent of stimulating citizens’ conscience. Indeed, the famous street artist’s work can be interpreted both as a mirror and a reaction to the rapid economic, social and cultural changes of London at the beginning of the 21st century, in addition to constitute a turning point in the recent history of street art. The Cans Festival, which was organized by Banksy in 2008 in an abandoned tunnel in Waterloo Station, finally brought to the light and to the attention of the media this kind of artistic actions, giving the possibility to street artists from all over the world to meet each other. In that occasion, Banksy put the foundations to the following numerous artistic actions realized in a legal regime, which are still today created in London’s public space.
Like a many-tentacled sea beast, contemporary capitalism also roams the depths and devours whatever it finds: public utilities ('let's privatize it!'), the counterculture ('let's brand it!'), ...conceptual art ('let's monetize it!'). The street art produced by the anonymous graffiti artist known as Banksy exemplifies the never-ending tug-of-war between capitalism and its discontents. In 2018, a framed copy of his iconic mural 'Girl with Balloon' was sold at the renowned auction house Sotherby's for just over one million pounds. Britain's exit from the European Union, Donald Trump's election to high political office, a global pandemic, the hollowing out of civil rights and environmental protections by the US Supreme Court, Russia's invasion of Ukraine, and the destabilization of the world economic order being only the most prominent examples.
At the beginning of the 2000s, street artist Banksy begins to spread his representations (stencil drawings, graffiti, tags and other kinds of interventions) all over London’s roads. Still almost ...un-known, between 2000 and 2010, the artist from Bristol builds his world-wide fame thanks to a constant program of illegally-realized urban art actions through the roads of United Kingdom’s capital city. The purpose of the article is to examine and retrace the history of Banksy’s early actions in the visual landscape of the city, focusing on their aspects of strong politic and social criticism, realized with the clear intent of stimulating citizens’ conscience. Indeed, the famous street artist’s work can be interpreted both as a mirror and a reaction to the rapid economic, social and cultural changes of London at the beginning of the 21st century, in addition to constitute a turning point in the recent history of street art. The Cans Festival, which was organized by Banksy in 2008 in an abandoned tunnel in Waterloo Station, finally brought to the light and to the attention of the media this kind of artistic actions, giving the possibility to street artists from all over the world to meet each other. In that occasion, Banksy put the foundations to the following numerous artistic actions realized in a legal regime, which are still today created in London’s public space.
All’inizio degli anni 2000, lo street artist Banksy iniziò a diffondere le sue rappresentazioni (disegni a stencil, graffiti, tag e varie altre tipologie di interventi) nelle strade di Londra. Ancora semisconosciuto, durante l’arco che, in modo approssimato, si può definire tra il 2000 e il 2010, l’artista di Bristol costruì la sua fama mondiale grazie ad un costante programma di interventi di arte urbana praticata illegalmente nelle strade della capitale britannica. Il presente contributo si propone di esaminare e ripercorrere storicamente le incursioni di Banksy nel panorama visivo della città durante il primo decennio del nuovo millennio, realizzate con il chiaro e dichiarato intento di stimolare la coscienza degli osservatori. In effetti, l’opera del celebre street artist, infatti, può essere interpretata insieme come specchio e reazione ai rapidi cambiamenti economici, sociali e culturali di Londra all’alba del nuovo millennio, oltre che come pietra miliare nella recente storia dell’arte di strada. Il Cans Festival, organizzato da Banksy nel 2008 in un tunnel dismesso della stazione di Waterloo, portò definitivamente alla luce e all’attenzione dei media questa tipologia di interventi artistici, organizzando un incontro tra street artists di tutto il mondo e costituendo così le premesse per le numerose azioni artistiche di tipo legale che ancora oggi continuano ad essere effettuate nello spazio pubblico di Londra.
Internationalization of doctoral study means more doctoral writers working across language and cultural borderlands. How can their access to a self-reliant understanding of English language be ...enabled? How can they acquire the confidence to find their textual voice? How can academics supporting these writers help them to adapt to western cultures of thinking, learning, and communicating? Behind this article sits an extensive investigation into how to support international doctoral candidates to make such crossings pleasurably: eight doctoral candidates from across disciplines at the University of Auckland, Aotearoa New Zealand, collectively close-read literary items, and Banksy’s street art. The purpose was to deepen understanding of argumentation, critical analysis, rhetoric that persuades, voice and creative positioning. Two interactive classroom sessions used Banksy’s street art to promote creative thinking about powerful communication. Here, we explain how Banksy’s graffiti gave a good foundation for the development of analytical skill, socio-political confidence, and cultural learning—and doctoral participants found the courage to be more creative thinkers and thesis writers.
The article discusses some interesting themes of using the image of the Egyptian sphinx in contemporary contexts: the Egypt Awakened (Nahdat Misr) monument in Cairo, symbolizing modern Egypt, and the ...use of the sphinx motif as an aspect of social protests; the so-called Arab Spring and the political upheaval in Egypt of 2010–2012.
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