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The English street artist known as Banksy has in recent years become an important figure in the contemporary art world, garnering both critical acclaim and commercial success with his work. The “Banksy effect” is a term coined to describe the increased interest in street art that has emerged in the wake of Banksy’s popularity. Although the Banksy effect is not universally applauded, it offers a useful lens through which to consider the emergence of street art as a means of popular expression in the Middle East and North Africa (MENA) region. This paper considers three places in which street art has been intentionally deployed as a vehicle of political protest or as a means to generate tourism in the face of political unrest: street art in the Palestinian territories; street art in Egypt, particularly Cairo; and the Djerbahood project in Tunisia. A brief discussion of the way in which street art is created and received in each particular area is provided, followed by some observations on how the Banksy effect may be at play in that particular context. The paper concludes that the idea of the Banksy effect has relevance in discussions of street art in the MENA region and that both the positive and negative aspects of the Banksy effect are seen in the region.
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The Egyptian revolution of 2011 produced a massive transformation in the perception of urban space and the interrelated dynamic of people, their bodies, and the language within that space. Cultural expressions such as caricature galleries, makeshift exhibitions, chants, poetry readings, and memorial spaces defined the square as a place where activism and art intersected weaving a lyrical tapestry of the revolution. The most prominent of these expressions was the street art of the revolution where the act of painting on walls re-territorialized the city making it the revolution’s barometer by registering the shifting political discourses as they unfolded. Documenting and preserving these visual expressions was the driving force behind a three-year book project, entitled Walls of Freedom: Street Art of the Egyptian Revolution, which narrates the revolution through striking images of the art that transformed Egypt’s walls into a visual testimony of bravery and resistance. This article will serve to offer a detailed analysis of the methodologies and tools used in creating the book as well as managing, financing, and collecting all of its necessary components. Primarily focused on qualitative visual research methodologies, the book is layered into three components or levels: one level is a visual journey of the revolution through a chronological image-timeline. The categorization and indexing of images by artist, photographer, date and translation was an important function allowing quick access to images visually placing them in a larger continuum. The second level is a reference-based timeline of events where a connection between the art and the historical/political events is presented. The third level involves the essays and analysis supplementing the timeline with historical implications, political and social contexts and personal voices collected from artists and activists.
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- Estético (2)
- Estudos de Filosofia/Teoria Política (2)
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- Hermenêutico (1)
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- Graffiti (2)
- Arquitetura e Urbanismo (1)