Belgrade, the capital of Serbia, is currently at the center of a heated debate over street art, thanks to two competing exhibitions featuring the enigmatic British artist Banksy. The exhibitions, titled ‘Banksy’ and ‘Fake Banksy, Real Message’, are igniting discussions about the commercialization of art and its accessibility to the public.
Banksy, who has been creating politically charged murals globally for decades, remains anonymous. His works often critique consumerism and the commodification of art, adding layers of irony to the situation at hand. The ‘Banksy’ exhibition, organized by Slovenia’s Deva Puri Gallery, showcases prints and posters, including notable works related to album covers, Greenpeace collaborations, and even alternative openings for show like The Simpsons. The exhibition charges attendees up to 1,300 dinars (roughly $10) for entry.
Curator David Rjazancev, who spent ten years assembling the exhibition, highlighted the multimedia aspects of the show aimed at enriching the audience's experience. He stated to AFP, “The pieces on display were borrowed from private collections, galleries, and museums, and their authenticity was checked and verified before being included.” Despite these claims, the entry fee seems to contradict Banksy’s ethos of making art accessible.
Nemanja Janjic, curator of the rival show ‘Fake Banksy, Real Message’, expressed strong disapproval of the commercialization evident at the ‘Banksy’ exhibition. He believes charging for entry goes against the spirit of Banksy's art, which is fundamentally anti-establishment. “His art is, above all, a critique of consumerism, elitism and profit, with a clear message: art should be accessible to everyone,” Janjic remarked, emphasizing the stark contrasts between the two exhibitions.
‘Fake Banksy, Real Message’ is free of charge and includes interactive elements, allowing visitors to use a paper shredder to destroy art prints. This references Banksy’s infamous “Love Is in the Bin” incident from 2018, when one of his pieces self-destructed immediately after being sold at Sotheby’s London. Janjic's exhibit aims to engage attendees through the lens of Banksy’s originals, reinforcing the notion of art as something not just to admire but to interact with critically.
Vanja, a local resident who attended the free exhibition, remarked, “His works are not meant for mass consumption … he is not a capitalist, nor is he commercial.” These sentiments reflect widespread grassroots indignation about the commercial exploitation of street art, especially when it runs counter to the values expressed by the artist himself.
Belgrade has long functioned as a canvas for street art, with its walls adorned by murals of poets, rock stars, and various political statements—both left and right. Over recent years, the city’s youth have been particularly active, using art to comment on social issues and protests. During recent student protests demanding anti-corruption reforms, demonstrators creatively reinterpreted Banksy’s image of the girl reaching for the red balloon, adding bloody handprints to convey their message.
While exhibitions like ‘Banksy’ showcase the artist’s works, those who defend street art argue for art’s role as public critique instead of mere products for sale. The current exhibitions exemplify the tension at the heart of contemporary art: the struggle between artistic integrity and commercial viability. With visitors often sharing their experiences online alongside images of the art, the conversation surrounding Banksy continues to evolve, reflecting broader discussions about art, access, and social commentary.
Experts argue this debate is emblematic of the struggles many artists face, particularly those who wish to reach audiences on issues like consumerism or gentrification without the interference of monetary transactions. Art should raise questions, provoke thought, and challenge established norms, as Banksy himself frequently does. This makes Belgrade’s art exhibitions particularly noteworthy, as they provide insight not only on Banksy's influence but also on how communities interpret and respond to these cultural dialogues.
The outcome of this debate, fueled by the respective exhibits, is still to be determined. Still, it leaves attendees considering how art should be presented, who gets to experience it, and what messages should transcend from street walls to gallery spaces. One thing is certain: Banksy's unfiltered commentary on society, profits, and the meaning of art remains more relevant than ever. Can art exist without trading hands? Can it retain its critique against commercialism when showcased for profit? These questions linger as Belgrade becomes the new battleground for discussions about art's role within society.