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„Winning is strictly prohibited”. O strategiach twórczych Banksy’ego i Jana Klaty

100%
Lubaszewska M.
Śląskie Studia Polonistyczne
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2010
EN
The paper analyzes the activities of two socially committed artists: Banksy and Jan Klata, who both use the funfair motif. Banksy employs it in a literal though subversive way in his project Dismaland, which is a quizzical reversal of Disneyland. Klata employs it in his performances (which often take the form of the director’s comments on the reality that surrounds us), showing a set of “amusements” resembling those from a funfair and leading the viewer to a perceptive dissonance (similarly to the collection of Eisenstein’s amusements). It seems that the space created by the committed art that uses the concept of a funfair allows for the implementation of a real rebellion against the status quo. Actual amusement parks, however, create only an illusion of the possibility to break with the norms of the social system.
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Mutterings to the Wall

71%
Taylor K. C.
Eidos. A Journal for Philosophy of Culture
|
2022
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vol. 6
|
issue 3
98-115
EN
This paper takes up Hadot’s call for more comparative work on Buddhism and Philosophy as a Way of Life by comparing Zen Master Hakuin Ekaku’s artwork Pilgrims with the graffiti artist Banksy’s The Street is in Play. Beyond the striking similarities in form and apparent tongue-in-cheek criticism of graffiti, this paper explains the context of Hakuin’s artwork and the text of his painting before exploring the importance of graffiti in the Platform Sutra of the Sixth Patriarch. I argue that by taking up Hadot’s call for more comparative work we find that Hakuin’s Zen bears fruitful points of comparison with Hadot’s account of philosophy as a way of life. Furthermore, a comparison of the two artworks of Banksy and Hakuin helps us better understand both figures via thematic elements of humor and socially disruptive writings.
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