Opinion / Augustin Macellari
Creative tension
You might have missed it but Banksy is at it again – or at it still. Who cares? The enigmatic stencil-sprayer’s brand of punchline activism became tiresome years ago; it won’t have come as much of a blow for commuters to learn that a recent intervention on London’s underground network was cleaned off by overenthusiastic (or impeccably tasteful) cleaners.
For some, Banksy represents the bottom line in art and activism. He is not. To see Banksy as an inheritor of the tradition belies the rich history of art as an agent of change. At its best, art is a forum for radical ideas. Concepts honed in the gallery have been realised in society – think of Andy Warhol and the cult of celebrity, or the generations of feminist artists who worked with their counterparts in literature and politics to lay the intellectual foundations for something approaching gender equality.
We find ourselves in strange times. The press is imperilled, social media is dividing societies and it’s becoming harder than ever to hold power to account. But artists have already stepped in to fill the gap opened by the retreating fourth estate. Forensic Architecture, the UK-based research group that has exhibited widely in institutions such as New York’s Whitney (“Triple-Chaser”, pictured) and London’s Institute of Contemporary Arts, has brought its interdisciplinary practice to bear on investigating human-rights violations the world over. Its research is exhibited in galleries – and it resonates far beyond their walls.
A new project in New York is calling for artists to propose works to appear on billboards around the city. Called “Ministry of Truth: 1984/2020”, it aims to generate dialogue in an increasingly polarised society, calling on artists to envision a different future. It’s within their power to do so – but let’s hope that they keep the stencils and spray paint at bay.