Contraculture

ROOM 4

The fourth hall highlights counterculture and alternative ways to convey messages through art. Here, you’ll find several works by the world’s most famous anonymous street artist, Banksy. His sharp humor, social critique, and activism resonate with millions worldwide, making his words arguably more impactful than those of some politicians. For example, Banksy’s artwork “Girl with Balloon” famously shredded itself via a built-in mechanism during an auction. He has also placed his art in world-famous museums without institutional permission by disguising himself, donated an artwork (and the proceeds from its sale) to a British hospital during the coronavirus pandemic, and created supportive pieces for wartime Ukraine.

In contrast to warfare, Shepard Fairey’s “Make Art Not War” emphasizes that an artist’s brushes, pencils, and tools are more powerful than any weapon. You can also see influences from the Art Nouveau style, which emerged in the early 20th century, as well as from the Flower Child and hippie movements of the 1960s and 70s, which protested peacefully, much like contemporary street art.

The AI co-created pieces in this room challenge and provoke traditional art world notions of what defines art.

Neljas saal heidab valgust kontrakultuurile ja alternatiivsetele võimalustele oma sõnumeid loomingus edastada. Antud saalis on nii mõnedki maailma tuntuima anonüümse tänavakunstniku Banksy teoseid. Tema nutikas huumor, ühiskonnakriitika ja aktivism kõnetavad miljoneid inimesi üle maailma ning Banksy sõna maksab ilmselt rohkem kui mõne poliitiku oma. 

Näiteks on kunstnik oma teose “Girl with Balloon” pannud oksjoni toimumise ajal  ennast sisseehitatud paberihundi abil hävitama, maskeeritult maailmakuulsatesse muuseumitesse institutsionaalse loata oma teosed paigutanud, koroonapandeemia ajal haiglale teose (sh selle müügitulu) kinkinud, sõjaaegsesse Ukrainasse toetavat tänavakunsti loonud jne. Erinevalt sõjapidamisest rõhutab Shepard Fairey teos “Make Art Not War”, et kunstniku pintslid, pliiatsid ja teised töövahendid on võimsamad kui mistahes relvad. Omaette kihina saab näha nii 20. sajandi alguses tekkinud juugendstiili kui ka lillelapsi, hipiliikumist, mis 1960.-1970. aastatel rahumeelselt protesteeris nii nagu seda teeb kaasajal tänavakunst.