Good morning Monday. Here’s an appropriately sinister, creepy trailer for Banksy’s Dismaland. Wish we could go! Juxtapoz interviewed Banksy:
This is certainly not a “street art” show—an art form Banksy describes as “just as reassuringly white, middle class and lacking in women as any other art movement.” The roster of artists ranges from Jenny Holzer, winner of the gold medal at the Venice Biennale, to Ed Hall, a pensioner who has spent forty years producing every major trade union banner from his garden shed.
Visitors are taken on an unflinching journey of art “made in the shadow of gathering clouds,” literally in the main gallery, as Dietrich Wegner’s Playhouse towers above the centre of the room. Truly global in scope and scale, you will find art from Israel and Palestine hanging side by side.
Does it represent any distinct art movement? Banksy has come up with the term “post modem-ism” and is valiantly trying to make it fit. This is art with high “click potential,” something achieved by containing more than one strand of thought or technique. “It’s flower embroidery, but done with a power drill into car bonnets,” or, “It’s a greenhouse, but all the seedlings are sprouting from ready meals.” This is art that thrives and is shared in the online environment—art that has an “and” or a “but.” The digital world demands more than the humble portrait or landscape, and these artists serve it wholeheartedly.