Banksy is keeping busy during his Parisian séjour. Today, he finally confirmed on Instagram that he is indeed in the French capital, posting two images of a mischievous rat wielding a box cutter painted on the back of a traffic sign next to the Centre Pompidou, which houses France’s national museum of modern and contemporary art. The caption on one of the posts suggests the work is a tribute to the May 1968 protest movement in France: “Fifty years since the uprising in Paris 1968. The birthplace of modern stencil art.”
Another (unconfirmed) work believed to be by the British street artist was found on one of the emergency exit doors of the Bataclan, the concert venue where 89 people were killed in a November 2015 terrorist attack. It features a veiled female figure who appears to be in mourning. It is markedly more somber and restrained than the other recent murals attributed to Banksy throughout Paris, which have included elaborate art historical references and very brash political commentary.
In fact, at least one of those earlier murals attributed to Banksy has already been defaced: the one of a girl painting over a swastika with a pink wallpaper pattern has been partially obscured by blue and brown pray paint. Half of one of the smaller rat murals, in which a rat rides the flying cork of a popped champagne bottle, appears to have been scrapped off the wall completely.
Other rumored Banksy murals, however, have already gained protective plexiglass shields. A video report by Le Monde shows the murals of a man offering a dog a bone and of a rat wearing a colorful bow beneath the text “mai 1968” are being preserved, for now. And recent Instagram photos suggest that the largest of the new murals, a reference to Jacques-Louis David’s iconic equestrian portrait “Napoleon Crossing the Alps,” has also been covered with a plexiglass sheet.
I won’t bother you with talk about how obscenely decadent and out of touch the Frieze art fair is. And yet…
Curators Tahnee Ahtone, La Tanya S. Autry, Frederica Simmons, Dan Cameron, and Jeremy Dennis offered the public a window into their curatorial processes through the work they produced during their fellowships.
Who says tragedy has to be tragic? Co-presented with National Black Theatre, this fresh, Pulitzer-winning take on a classic centers Black joy and liberation.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Jeremy Dennis presents an exhibition to offer insight into his curatorial process.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Dan Cameron presents an email exhibition to offer insight into his curatorial process.
For the triennial’s eighth edition, work by more than 70 artists is featured in 12 exhibitions and a polyphonic program, installed at various locations throughout the German city.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Frederica Simmons presents an email exhibition to offer insight into their curatorial process.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, La Tanya S. Autry presents an exhibition to offer insight into her curatorial process.
This exhibition explores the work and short-but-impactful life of the groundbreaking ceramic artist. Now on view at the New Orleans Museum of Art.
As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Tahnee Ahtone presents an email exhibition to offer insight into her curatorial process.
This week: Why does the internet hate Amber Heard? Will Congress recognize the Palestinian Nakba? And other urgent questions.
Artist Dan Jian makes the point that landscapes and memory are one and the same.