Tag: Media

Banksy’s Art, Activism, and the Paradox of Digital Engagement

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Book Cover from Banksy, The Early Shows 1997-2005

Image Source: Follow the link to download the book.

Banksy and Activism

Mention art and activism, and Banksy’s name is bound to come up at the top of the conversation. In my view, the Walled Off Hotel in Bethlehem stands out as his most astonishing piece of artivism. Known for having “the worst view in the world,” the hotel opened in March 2017 as a temporary exhibition but continues to operate on the West Bank of Bethlehem(Banksy’s Art in West Bank Hotel With World’s “worst View” | AP News, 2017). This project exemplifies inter-subjectivity by redefining the concepts of ‘place’ and ‘space,’ as outlined by de Certeau (1984, pp. 117-118). The hotel’s physical location represents a ‘place’ with stable material conditions and specific uses. However, Banksy’s art installations transform this ‘place’ into a ‘space’ shaped by the interactions and movements of visitors.

https://walledoffhotel.com/rooms.html

Images source – 

https://walledoffhotel.com/rooms.html

A View from the Walled Off Hotel

The hotel’s installations turn the static ‘place’ into an ‘anthropological space’ where historical and social dynamics are continually reinterpreted. This encourages visitors to interact with the dynamic engagement related to the Israeli-Palestinian conflict. As Turner (2004) discusses in “Palimpsest or Potential Space? Finding a Vocabulary for Site-Specific Performance,”  this layered approach allows for a reinterpretation of history and social commentary. Moreover, this transformation reflects the inter-subjectivity concept and the palimpsest nature of site-specific performance. It creates a vibrant space for ongoing dialogue and interactions between visitors and the local community.

From Street to Screen

I feel a strong connection to fellow creators as an artist. I’m a huge fan of Banksy—whether it’s visiting his exhibition at the Moco Museum in Amsterdam or mural hunting in London. While Banksy’s street art may originate in physical locations, he has engaged in the digital landscape effectively through his online presence. I am just one of over 13 million followers on his sparsely updated Instagram account. Each post featuring his murals or special projects instantly receives thousands of comments in various languages, including Japanese, English, and Russian. Most of these posts have gained over a million likes, and have been reposted and shared tens of thousands of times across various platforms (The Power of Banksy’s Art and Activism, 2021).

To explore this, I will first look into how Banksy’s art connects with digital activism, which refers to employing digital tools and platforms to promote social change, and how social media helps spread his creative expression.

Noora, one of our group writers, highlighted relevant insights from Mutsvairo’s “Digital Activism in the Social Media Era” (2016) in her first post, emphasising that the effectiveness of online activism relies heavily on coordination with offline efforts(Noora, 2024). Banksy demonstrates this balance by using digital platforms to amplify his messages while ensuring that his street art continues to make a tangible impact in the offline world.

Photo by Nicolas J Leclercq on Unsplash

Satire and Representation

Banksy’s art is centred around satirical commentary on societal issues. As explained by Stuart Hall that meaning is not inherent in objects, people, or events; rather, it is constructed through cultural and societal contexts. In “The Work of Representation,“ Hall (1997) argues that meaning is created through language, signs, and images that people within a culture use to make sense of the world. This perspective offers me a different view of Banksy’s striking visuals, which are meant to tackle complex social issues and challenge viewers to confront uncomfortable truths. While his work challenges viewers to confront uncomfortable truths, it also raises questions about representation and agency. 

My professor, Tobias Denskus, in his blog Aidnography, also reflects on the importance of engaging audiences and stakeholders in the Global North in development discussions. He uses the example of Angelina Jolie’s visit to Chad, documented in her piece for Time, and contrasts it with MrBeast’s loud, cash-in-hand videos. This raises questions about the intended audience and the impact these communications have on humanitarian efforts. One cannot help but agree with Denskus’s reflection: “…but who is the audience and how does it help…?” This also reminded me of Rhodri Davies’ article, “Good Intent, or Just Good Content? Assessing MrBeast’s Philanthropy,” where he notes, “If MrBeast wasn’t making videos about giving, what would he be doing instead?”

I wonder are we, Banksy’s fans, truly empowered by his work, or are they simply being used as emotional sensations?

The Commodity Paradox

This leads to an obvious irony in Banksy’s work. While he critiques capitalism and the commodification of art, his creations have become highly sought-after items rather than accessible forms of expression for the public. During another assignment for this blog to explore interview techniques, an anonymous student shared their enthusiasm for viewing Banksy’s artwork in person, highlighting that the cost of admission to the Moco Museum in Amsterdam, which is €21.95, poses a significant barrier for students. In some extreme cases, people have even vandalised walls and public property to acquire a piece of Banksy’s art(Simpson, 2022). The excitement surrounding his art on digital platforms has helped market his work to the masses, inflating prices and encouraging other street artists to pursue the “Banksy effect” (The Banksy Effect – a Look at Banksy’s Impact on Society & How He Legitimised Street Art, n.d.)

Additionally, Banksy’s decision to remain anonymous adds to his mystique. Viral videos attempting to reveal his identity create such a buzz that draws even more attention to his art and raises questions about the role of identity in activism. As a result, his art has become part of the very consumer culture he seeks to criticise. My brain is spinning with questions: What does this mean for the future of art as a tool for genuine social change? When artivists’ work becomes commercialised, what happens to their original message and intent? Does commercial success change the true meaning of their art, or help spread it? How do digital platforms affect this process? I could go on and on.

Commercialisation and Community Impact

Consider Banksy’s famous shredded piece, Girl with Balloon. The act of shredding it during an auction was intended as a critique of the art market, yet the artwork’s value unexpectedly skyrocketed, and the partially destroyed piece ultimately sold for £18.5 million(Badshah, 2021). This sale further underscores the growing demand for Banksy’s work. In the wake of these events, public reactions have ranged from outrage to admiration, igniting discussions about the value of art and its role in society.

Moreover, there have been instances where Banksy’s art has led to concerns about rising rents. For example, this March when Banksy created a mural on a block of flats in Finsbury Park, London, residents feared their rents would skyrocket due to the increased property value (Skinner, 2024). The building owner reassured tenants he wouldn’t raise the rent, but did mention the possibility of selling the property to Banksy enthusiasts willing to pay a premium. This situation highlights the unintended economic impact of his art on local communities.

Finally, while Banksy has occasionally sold his art on the streets over the years, unauthorised reproductions frequently appear on platforms like eBay and Etsy. His official website, managed by the Pest Control Office, warns against the commercial use of his images.

https://pestcontroloffice.com/use.asp

The screenshot from the Pest Control Office website regarding the Use of Images.

Despite this, some individuals have been arrested for selling fake Banksy art. This rise in popularity risks shifting his work from a form of activism to a trendy aesthetic, lifting him to celebrity status. As his fame grows, the way audiences interpret Banksy’s work can vary greatly, largely influenced by the art market, digital hype, and his mysterious identity. This complexity leaves me pondering the dynamics at play.

Viral and Value

Thanks to digital media, Banksy’s artwork has become a highly sought-after commodity, often fetching astonishing prices at auction. Social media allows his work to reach a global audience, generating excitement that drives collectors and celebrities into fierce bidding wars. This increased visibility creates a sense of urgency around his pieces, while the limited editions he produces add an air of exclusivity that further inflates their market value. Exhibitions like Dismaland, the Walled Off Hotel, and the ongoing pop-up showcases of The Art of Banksy consistently break visitor records, highlighting the public’s eagerness to experience his art in person. This paradox underscores the complexity of Banksy’s work: while it critiques consumerism and capitalism, it simultaneously becomes an asset within the very system he challenges.

Your Thoughts?

I find myself split between the tension of art as a commodity and art as a form of resistance. The relationship between art, representation, and activism raises important questions about the responsibilities of artists in our digital age. Given this context, which piece of Banksy’s art, aside from raising awareness, has inspired or motivated individuals and groups to take concrete actions in response to the social and political issues he highlights? I’d love to know!

 

References

Badshah, N. (2021, October 14). Banksy sets auction record with £18.5m sale of shredded painting. The Guardian. https://www.theguardian.com/artanddesign/2021/oct/14/banksy-auction-record-shredded-painting-love-is-in-the-bin

Banksy. (n.d.). https://banksy.co.uk/licensing.html

Banksy’s art in West Bank hotel with world’s “worst view” | AP News. (2017, March 3). AP News. https://apnews.com/article/b19763edb0a44037adb0cafcc3e0b223

Banksy Explained. (2023, August 18). Home – Banksy explained. Banksy Explained -. https://banksyexplained.com/

Blanché, U. (Ed.). (2023). Banksy – The Early Shows. 1997-2005. https://books.ub.uni-heidelberg.de/arthistoricum/catalog/view/1201/2062/108482

Certeau, M. de. (1984). The practice of everyday life (S. Rendall, Trans.). University of California Press. https://chisineu.wordpress.com/wp-content/uploads/2012/10/certeau-michel-de-the-practice-of-everyday-life.pdf

Denskus, T. (2024, October 6). What if MrBeast really is one of the futures of philanthropy—and what does that mean for communicating development? Aidnography. Retrieved from https://aidnography.blogspot.com/2024/10/mrbeast-givedirectly-future-philanthropy-communicating-development-aid.html

Davies, R. (n.d.). Good intent, or just good content? Assessing MrBeast’s philanthropy. Retrieved from https://onlinelibrary.wiley.com/doi/full/10.1002/nvsm.1858

Hall, S. (1997). The work of representation. In Representation: Cultural representations and signifying practices (pp. 15-30). Sage Publications.

Mutsvairo, B. (2016). Digital activism in the social media era. Palgrave Macmillan.

Noora.  (2024, November 5). Protests online and offline – IDA. IDA. https://wpmu.mau.se/msm24group4/2024/10/21/protests-online-and-offline/

Simpson, D. (2022, October 19). Crowds, vandals, chaos: what happens when Banksy sprays your wall? The Guardian. https://www.theguardian.com/artanddesign/2019/jan/16/help-ive-been-banksied-how-we-coped-with-banksy-street-art-fame

Skinner, T. (2024, March 20). Owner of Banksy mural flats says he won’t put up rent – but could be tempted to sell. NME. https://www.nme.com/news/music/owner-of-banksy-mural-flats-says-he-wont-to-put-up-rent-but-could-be-tempted-to-sell-3603281

The Banksy Effect – A look at Banksy’s impact on society & how he legitimised street art. (n.d.). Maddox Gallery. https://maddoxgallery.com/news/97-the-banksy-effect-how-banksy-legitimised-street-art/

The power of Banksy’s art and activism. (2021, May 7). Sothebys.com. https://www.sothebys.com/en/articles/the-power-of-banksys-art-and-activism

Turner, C. (2004). Palimpsest or potential space? Finding a vocabulary for site-specific performance. In Theatre and Performance Design (pp. 77-89).

 

Unpacking Digital Artivism: A First Look

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Image by NoName_13 from Pixabay. Modified by Percy Chang. The note in the fortune cookies read  “Your art can light the path to a better world; let it shine online.”

Same Spirit, New Outlets

Back in the mid-’90s, I had a brief stint as a fiery college student in Taiwan, where democracy was flourishing. I joined my fellow students, armed with poster pens and cardboard, to advocate for human rights and against the tensions coming from across the strait. Yep, I’ve just given away my age! But those were the good times when we physically took to the streets, facing the authorities and telling them face-to-face what we stood for. Telling isn’t always the best strategy, but our art, street acts, acoustic guitar sessions with spontaneous lyric writing, and memorable protest symbols captured the attention and built a strong sense of solidarity within a community dedicated to freedom of speech. Today, that same spirit thrives online. Digital artivism is highly accessible, allowing artists to explore diverse forms of expression, from digital illustrations and interactive design to video art. For activists without a graphical background, could use AI tools to generate creative visuals. Once combined forces with compelling social media campaigns, global audiences can be reached for meaningful social change! At the same time, they can receive instant feedback and perhaps adjust strategies efficiently in real-time. For this introductory post, I’d like to briefly present three examples that give a practical view of digital artivism in action. While this is just a quick overview, it might pique your interest and encourage you to explore the links to the creative movement in activism and learn more!

  1. Self Help Graphics & Art: Since the 1970s, this minority-led organisation rooted in community has fostered local artists to create visuals that inspire action and teach activists about the power of visual art. In recent years, they’ve expanded their impact by embracing digital platforms. This allows their initiatives to empower artists and activists worldwide, all from their vibrant neighbourhood in Boyle Heights, Los Angeles, California.
  2. Terra Movement Platform:  Founded in 2020 by Sofia Hadjisof during the pandemic lockdown, Terra Movement began as a one-woman effort from her studio. She invites artists worldwide to collaborate, using their creativity to tackle climate change. It shows that with a cause based on passion and the use of digital tools, anyone can start a movement and start making an impact.

Image source from Terra Movement.

 3. #AllEyesOnRafah: During the Israel-Hamas conflict in early May 2024, an Instagram post with an AI-generated image and the slogan ‘All eyes on Rafa’ was shared over 47 million times within only two days. All around the world, activists, influencers, and celebrities post it on their accounts to draw attention to the humanitarian crisis in Rafah. I will not go into it but here is a good article about how the post was created. This marks a breakthrough in digital artivism, as with the help of AI, artists and activists could create ‘sanitised’ images to address critical issues without getting blocked or taken down by AI algorithms and human moderators. Screenshot Caption: “AI-generated image from the ‘All Eyes on Rafah’ campaign, which went viral during the Israel-Hamas conflict in May 2024.” Source: Image and information sourced from NPR article, “All Eyes on Rafah: The Most Viral AI Meme, Malaysia Artists Claim Credit”. Link to the article

Future Envision

Imagine stepping into a VR world where you become a clownfish swimming in a suffocated ocean, navigating through polluted waters. Feeling the struggle and urgency firsthand could make us more empathetic and driven to advocate for ocean conservation. If these experiences were made available to everyone—from policymakers and leaders to youngsters and everyone in between—they could transform how we understand and engage with environmental issues. I am excited about emerging technologies such as virtual reality (VR) and augmented reality (AR) that are set to revolutionise how art is created and experienced after reading this published report from the Pew Research Center on The best and most beneficial changes in digital life that are likely by 2035 (Chavda & Chavda, 2024), These immersive environments can engage us emotionally and intellectually, bringing art and activism to a deeper level. Jonathan Kolber, author of “A Celebration Society,” stated, “I believe that we will see multiple significant and positive developments in the digital realm by 2035. The widespread availability of immersive VR (sight, sound, touch, and even limited smell and taste) at a low cost… will offer experiences of wonder, learning and play.” Of course, everything has two sides. My focus is on how we can develop and improve, seeing possibilities and working through obstacles. 

Exploring Digital Artivism Together

As a working artist beginning my journey in Communication for Development studies, this project opens the door for me to examine how artists use digital platforms to address social issues and engage communities. In my world, where freedom of speech feels like a playground, I’m curious about those who face greater restrictions. How do they navigate their platforms and convey their messages despite these challenges? My name is Percy Chang and I invite you to join me on this journey as we explore these important questions together. I’d love to hear your thoughts and experiences. Feel free to follow us on Instagram @ida_insidedigitalactivism and interact!

For a deeper dive into digital artivism

Check out Digital Artivism: Pictures Worth Thousands of Words by Ana Filipa Maceira, with illustrations by Irem Kurt. It offers an enlightening perspective on how digital platforms amplify activist voices.  Another insightful source is the academic journal Dissent Art in the Digital Age: Insights into the Culture of Artivism on Instagram in India by Bhawna Parmar. This work delves into how artivists use Instagram to express dissent and drive social change, particularly in response to significant political events. 

Bounce a Thought Our Way!  

Can you share a few examples of digital or traditional artists who have inspired you with their activism on online platforms? Please comment with their names, the messages they conveyed, and how you first came across those messages (which platform did you use?)

 

Protests online and offline

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“One of the most vital ways we sustain ourselves is by building communities of resistance, places where we know we are not alone.”
bell hooks

I ran into this quote on an Instagram account that shares information on demonstrations and protests that are happening in Finland in support of Palestinians. The idea of resistance as a comforting action, a way of building community is fascinating.

For me taking part in a demonstration has always been an emotional experience. 2018 when huge climate marches happened everywhere, also in Finland, it felt good, and comforting to realise that millions of others are concerned about climate issues and are willing to use their time to come together, make signs, and march together. For a moment it felt like together we can change the development and heal the environment.

For the past year, pro-Palestine demonstrations have taken place all around Finland, in Helsinki every week. Coming together, and showing solidarity has felt important, and personally also a place where you can grieve. Over 14 000 children have died in the war in Gaza after October 2023. Witnessing that horror – through digital channels – is overwhelming and deeply sad. Some of the demonstrations have been silent candle demonstrations, they felt a kind of memorial service for those who lost their lives.

A homeplace

The quote in the beginning is from the book Yearning: Race, Gender, and Cultural Politics. In the same book hooks describes a site of resistance, a homeplace, like this:

“This task of making homeplace was not simply a matter of black women providing service; it was about the construction of a safe place where black people could affirm one another and by so doing heal many of the wounds inflicted by racist domination. We could not learn to love or respect ourselves in the culture of white supremacy, on the outside; it was there on the inside, in that “homeplace,” most often created and kept by black women, that we had the opportunity to grow and develop, to nurture our spirits.”

What kind of communities of resistance are there in the digital world? And how the protests and demonstrations in real life are in connection with the digital world? Protests are photographed and live-streamed to social media, social media channels are used as a way to share information and educate people. But the idea of a homeplace, a community of resistance highlights the importance of collective support and a feeling of community – can you get that also digitally?

In my IDA blogposts, I will explore this topic. The links between online and offline activism. This blog post-series is also my journey of finding ways and methodologies to study the topic.

Online, offline, or both?

I come from Finland, where even small children have their mobile phones. The digital world is intertwined in everything we do. From my perspective, all offline activism is somehow connected to digital channels. Can online and offline activism even be separated?

“The success of online activism is reliant on several factors, chief among them, the effective coordination with offline activities. Even those who believe the internet was instrumental in determining the success of the Arab Spring would admit that had activists not taken to the streets, then perhaps, having typically overstayed his mandate, the ex-President of Egypt, Hosni Mubarak, would not have seen the need to give up.” Mutsvairo (2016)

This quote from the book Digital Activism in the Social Media Era argues that online activism needs offline activism, to be able to achieve change. Mutsvairo continues with an explanation of an argument by Anduiza et al. (2009) who have characterized activism in three different categories, drawing a distinction between activities that are only possible online, those only conceivable offline, and offline activities that can also be carried out online. This distinction seems like a good starting point for my expedition in digital activism.

What next?

Having a channel where to communicate and finding the right audience is already the first step of building a community. The digital world is not accessible to all, but for those who can access digital channels, it offers a way to speak for themselves. A study from Zimbabwe argues that digital tools are empowering activists:

“The study found that social media has given Zimbabwe’s unique digital activists the power, in real or illusory sense, to challenge narratives of-ten advanced by post-colonial hegemonies.“ Karam et al. (2021)

The text also suggests that social media platforms offer a space and a voice perhaps in the same way that coffee houses and restaurants before. Could you even say: a digital homebase?

Best,
Noora

Before you go, I would like to ask about your experiences. What kind of experiences do you have about taking part in digital activism? Did you feel you were a part of a community of resistance, a homeplace?

 

References:
  • Anduiza, E., Cantijoch, M., & Gallego, A. (2009). ‘Political participation and the Internet.’ Information, Communication & Society.
  • hooks, bell (2015): Yearning: Race, Gender, and Cultural Politics.
  • Karam, Beschara; Mutsvairo, Bruce (eds.) (2021): Decolonising Political Communication in Africa-Reframing Ontologies.
  • Mutsvairo, Bruce (2016): Digital Activism in the Social Media Era.

Welcome to IDA

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#BlackLivesMatter, #MeToo, and #ClimateStrike are a few examples of global and well-known movements from recent years – and they all gain their power from the digital world. These examples reached massive popularity. In the year 2020 hashtag #BlackLivesMatter was used roughly 47.8 million times on Twitter only in a few weeks. The movement was activated after the death of George Floyd. Fridays for Future and the #ClimateStrike movement went viral in 2018 as students and activists worldwide organized online to protest government inaction on climate change. Digital activism played a crucial role in coordinating climate strikes in hundreds of cities.

These are some well-known success stories of digital activism, but not the whole picture. Digital activism can also be local, unsuccessful, artistic, or even fake. IDA – Inside Digital Activism -blog dives into the digital world and takes a close look at different phenomena of digital activism.

Digital activism might look like an easy and cheap way of mobilizing people and pushing social change, all you need is a group of people with mobile phones. NGOs, political parties, and activists are all searching for the killer hashtag that would be the next viral hit and reach the audience they want. Even if you’re not targeting a global audience, activism in a digitalized world cannot exist without a digital dimension.

We, the writers of the blog, are Ana, Noora, Percy, and Tábata, a group of Communication for Development master’s students passionate about exploring how communication can drive positive change in the world. Through this blog, we aim to share our insights, experiences, and reflections as we dive into the complexities of development communication. Whether you’re a fellow student, a development professional, or just curious about the field, we hope you’ll find our posts thought-provoking and inspiring.

This blog will look into the limitations and risks of digital activism such as inequality in online activism and the rise of fake content in digital channels. Tábata will investigate disparities in access to technology, participation in digital activism, and the inclusion and exclusion within online movements, examining how activists are addressing these challenges.

IDA-blog will also take a closer look at different formats of digital activism. Percy is going to explore how digital activism meets creativity – ‘Digital Artivism’? How do artists measure the impact of digital formats and available data collection tools? What are the recent projects and discussions of the challenges that artists face? Ana will dive into the world of protest music – and music with political messages. Music has long traditions as a tool in social movements – what is its role in the digital era? Many movements and protests live both in real and digital life. Noora will explore how real-life protests, street demonstrations and occupations are connected to digital activism.

Stay tuned for the following posts! It would be great if you would drop a comment or question: what is the phenomenon that we should explore or a theory that you would like to know more about?