Source: CNN Written by Elizabeth Wells, CNN Alicia Lee, CNN
Banksy shares new artwork supporting Black Lives Matter and says it’s on white people to fix systemic racism
anksy, perhaps the best-known anonymous artist and social critic in the world, is showing his support for the Black Lives Matter movement with a new piece of art and a stark message: “People of Colour are being failed by the system.”Black Lives Matter protests have spread across the globe for the past two weeks following the death of George Floyd, a black man killed in police custody in the US on May 25. Banksy’s latest work, unveiled in an Instagram post, depicts how Floyd’s death has shaken the United States.The piece is composed of a framed black figure with a candle and flowers surrounding it. An American flag hanging overhead has been lit on fire by the candle beneath.
A detail from Banksy’s new artwork. Credit: Banksy/From InstagramAlong with the artwork, Banksy made his thoughts on systemic racism crystal clear.”At first I thought I should just shut up and listen to black people about this issue. But why would I do that? It’s not their problem. It’s mine,” Banksy wrote on his Instagram post, which has garnered over 2 million likes.Banksy donates new artwork honoring health care workers to hospital“People of colour are being failed by the system. The white system. Like a broken pipe flooding the apartment of the people living downstairs. The faulty system is making their life a misery, but it’s not their job to fix it. They can’t, no one will let them in the apartment upstairs.”This is a white problem. And if white people don’t fix it, someone will have to come upstairs and kick the door in,” the artist added.
The artwork was posted to Banksy’s Instagram account. Credit: Banksy/InstagramA Black Lives Matter protest took over the streets of Bristol, England, on Sunday near where Banksy is presumed to have been born. Local police estimated that 10,000 protesters participated.Banksy and the tradition of destroying artDuring the protest, demonstrators pulled down a statue of 17th-century slave trader Edward Colston. Protesters cheered and celebrated at the sight of the bronze statue being brought down, but police say an investigation has been launched to identify those involved.CNN’s Max Foster and Nada Bashir contributed to this report.
All images Courtesy of eL Seed and Lazinc Gallery Main image Lost Walls, Tunisia – eL Seed, 2014 Words Fiona Mahon
Disruptive, provocative and healing – eL Seed’s work reimagines Arabic calligraphy through modern graffiti.
Encouraging understanding and human connection, eL Seed’s art is a beacon of hope in a world divided. The French-Tunisian artist creates street art that seamlessly brings together the contrasting traditions of ancient Arabic calligraphy and graffiti art, using them to spread messages of freedom, empowerment and love.
Best known for the striking, disruptive murals he paints in public spaces around the world – including a controversial mural painted on the minaret of a Tunisian mosque in 2012, and a 2016 piece spanning 50 buildings in Cairo’s Manshiyat Naser neighbourhood – the artist invites us to cast aside our preconceptions about language and heritage.
‘Positive Energy’ – Dubai, eL Seed
Growing up in Paris in the 1980s and 1990s, he became immersed in the culture of graffiti from a young age. But it wasn’t until his late teens that the artist reconnected with his roots in Tunisia, learning to read and write in Arabic.
Experiencing the upheaval of the 2011 Tunisian Revolution first hand, eL Seed became an important part of a movement of creatives leveraging the power of art and language to provoke cultural and political change. Since then he has painted murals across Tunisia, and in London, Toronto, Doha and Melbourne, set up a studio in Dubai and collaborated with Louis Vuitton on a collection of accessories.
eL Seed and Louis Vuitton, 2013
Placing the Arabic language at the heart of his work, eL Seed’s distinctive visual style is layered with meaning, directly addressing misconceptions around Arabic culture. Inviting us to unravel and play with the symbolic quality of language – ‘Tabula Rasa’, his first ever UK exhibition at London’s Lazinc gallery – presents a new approach to his work, with an unfinished, raw quality to his pieces.
We talked to him about his process of creation and the role that art can play in healing divides between cultures.
‘Picabia’ – eL Seed for Tabula Rasa, 2019
Hi eL Seed, what can we expect from Tabula Rasa?
For this exhibition, I have taken my process a step further by attempting to strip down my thought process as an artist, in an effort to access my own tabula rasa, if indeed it is possible. Expect to get a better grip of Arabic script and its beauty through a calligraphic experience.
Where did the concept originally come from?
I take the idea of tabula rasa as a starting point and implant it onto the deep-seated preconceptions that are commonly held about the Arabic script and culture. The idea of the human mind as a ‘tabula rasa’ occurred late in the 17th century, when the English philosopher John Locke in An Essay concerning human understanding (1689), argued for the mind’s initial resemblance to “white paper, void of all characters,” with “all materials of reason and knowledge” derived from experience. Essentially, he says that the human mind at birth is a complete, but a receptive, blank slate (or tabula rasa) upon which experience imprints knowledge.
‘Locke I’ – eL Seed for Tabula Rasa, 2019
The works have an unfinished style to them which is a departure from your usual aesthetic – is your intention to leave room for the audience to add meaning?
It is an invitation for people to discover. The surface calligraphy that seems to be ripped and torn to reveal the bones and structure of the words below and the final message, materializes slowly and differently with each viewing.
‘Locke II’ – eL Seed for Tabula Rasa, 2019
You use your work to build bridges between cultures and people, do you think art can help heal the divisive nature of our world today?
I truly believe that art is a way to open dialogue. I believe that my artwork can cut through the boundaries that we place between ourselves; whether physical, cultural or linguistic. My exhibition at Lazinc represents a new style of painting, where I am attempting to break down my thought process into layers. It also asks the audience to question the way they think and how much they have been affected by assumption or misconception.
Are there any specific experiences you’ve had where you feel your own work has helped connect or transform people?
My project ‘Perception’ inside the Cairo garbage collectors neighborhood proved to me how art can switch perception, bring light to a community and create amazing human experiences. The community used to be called ‘Zabaleen’ which the means literally the ‘Garbage people’. The project had such an amazing impact in the press that it allows to spread their real name and tell in a certain way their story and how important they are to the city of Cairo. This community has developed the most powerful recycling system in the world and most people don’t know it.
‘Perception’ was surprising to me in so many ways. I went with the intention of raising awareness about the area, but the profound effect these people had on me makes me passionate about telling their story and attempting to redress the negative perceptions that hang over the area not just within Cairo but across the region and the rest of the world.
‘Perception’ – Cairo, eL Seed, 2016
You take your work out of the gallery and into public spaces – what’s the experience like of creating something of this scale? How is the dynamic different from creating a gallery show?
It was truly the most humbling experience of my life – the people of Manshiyat Nasr in Cairo are innovative, smart, generous, welcoming and completely misunderstood. That is why I called my project Perception. I need projects in the public space to give the energy and the inspiration for my work in the studio. They are both connected.
What can the art world do to create more inclusive experiences? Is street art key to this?
Art is a way to open a dialogue as I mentioned, be it street art or any form of art in that matter. For me, personally, it is important to create human interaction whenever I make murals on public spaces or just creating a canvas on my studio. I love the experience we create around the art piece that brings people together.
Mural in Cape Town, eL Seed, 2012
What does the use of Arabic calligraphy mean for you symbolically and personally in your work?
I perceive my artwork as a tangible expression of my search for identity, both as an individual and as an artist. My compositions, that combines the freestyle technique of street art with traditional Arabic calligraphy, reflect the tension represented in my hyphenated identity. Arabic calligraphy helped me reconcile two parts of my identities. Today, I use it as a tool to bring people, culture and generations together.
Lost Walls, Tunisia – eL Seed, 2014
Who are some artists inspiring you right now?
Sundus Abdulhadi , Ruben Sanchez.
Thank you eL Seed!
Find out more about eL Seed’s Tabula Rasa exhibition at Lazinc Gallery in London.
Internet traffic in general has increased by 80% as a consequence of the pandemic. Some sensations of the aesthetic experience of the Works of Art having a complex legal nature can be revived in the intangible atmosphere of Internet.
Different sectors of the so-called cultural industry have developed private liquid formats with third generation business purposes, which are distributed and reproduced online, such as the case of the cinema, music, editorial, photography, which can also be considered for the Art Ecosystem throught program designs as well as technological systems that consider the management of Intellectual Property Rights on the reproduction of each one of the pieces and catalogues of the collection, with a licence, right cessions, adherence contracts, considering the technological protection and limitation of Authors’ Rights. Throught the use of protection technology and the the access with matrixes, beyond the whole or nothing concept and with the possibility of identifying the users’ end for their liberation.
Or rather it could be considered to create an opener free circulation system (J.P. Paul Getty Trust model) having educational research non-business purposes, which would pose higher levels of complexity and barriers and which requires further articulation, reaching an agreement as to all the interests and rights of the actors of the Digital Ecosystem and Art, which to become sustainable should at least involve Museums or the proposed Actor such as an Art Gallery, Collectors or Artists and technology manufacturers, technology professionals, Institutions that defend public interest and the Consumer. In line with the Author Rights Protection and their exceptions, in the Information Society, ruled in the OMPI, extending to the intangible atmosphere and ratified by the American system of the Digital Millennium Copyright , the European system of the Digital Copyright and its respective rules.
The painting will remain at Southampton General Hospital until the autumn when it will be auctioned to raise money for the NHS.
Paula Head, CEO of the University Hospital Southampton NHS Foundation Trust said: “Our hospital family has been directly impacted with the tragic loss of much loved and respected members of staff and friends.
“The fact that Banksy has chosen us to recognise the outstanding contribution everyone in and with the NHS is making, in unprecedented times, is a huge honour.”
She added: “It will be really valued by everyone in the hospital, as people get a moment in their busy lives to pause, reflect and appreciate this piece of art. It will no doubt also be a massive boost to morale for everyone who works and is cared for at our hospital.”
The artwork is now on view to staff and patients on Level C of the Southampton General.
Artists seeking arts funding in NSW will now have to compete directly with requests for major capital infrastructure in one and the same funding round. Photograph: Zero Creatives/Getty Images/Image Source
Two years ago, the painting titled “Salvator Mundi,” set a record as the most expensive piece of art ever sold at an auction. The image of Jesus is one of fewer than two dozen works attributed to renaissance master Leonardo da Vinci. But in a new book, one author paints a different picture, questioning if the painting is a genuine Leonardo. Author Ben Lewis joins “CBS This Morning Saturday.”