After the questionably authentic “website crash” on the first day of ticket release, I managed to get tickets and see the perhaps most spontaneous, most talked about, large-scale art instillation of its kind.
For five weeks, Dismaland came to Weston-Super-Mare’s shore. Perhaps the limited time frame and even more limited ticket numbers is what led to the infectious fascination. Six hour queues for on the door tickets, an explosion of media attention. The once-in-a-lifetime, Facebook-share-to-prove-you-were-there, kind of occasion boosted the Weston economy by reportedly £20 million.
Paying homage to the ‘dismal’ British seaside holidays we’ve all had as children, Banksy paid close attention to the stereotypes: large scale paper windmills, run down amusements, miserable staff.
Expectedly satirical, Dismaland poked at the horsemeat scandal, immigration and most controversially, Princess Diana’s death. Curating a fusion of art, humour and politics is what Banksy has always done best, and Dismaland is arguably the best he has curated. Commissioning such artists Damien Hirst, David Shrigley and as once again proves Banksy’s undeniable influence, and once again ignites the intrigue of his mysterious identity.