Recently, I visited the exhibition ‚The Mystery of Banksy – A Genius Mind‘ in Cologne and wrote about it in our magazine, FrontRowSociety.net. In doing so, I was once again reminded of the controversies surrounding these exhibitions, which are not authorized by the artist. And yet, even the fake Banksys fascinate thousands of people who would otherwise have no access to original Banksy street art.
Some questions surrounding the exhibition and Banksy himself have been occupying our readers and us. To answer these questions, we conducted an interview with curator Virginia Jean in April 2024. The British-born curator discusses the challenges posed by the elusive Banksy and the gray areas of the exhibition.
Exclusive Interview with Virginia Jean, Curator of the exhibition The Mystery of Banksy – A Genius Mind
Annett Conrad: Virginia, you’ve been active in the street art scene for quite some time. How did you come up with the idea to curate a Banksy exhibition, and what challenges did you face along the way?
Virginia Jean: I began my career in the classical art market but soon realized that the most politically relevant and impactful art isn’t found in museums but on walls, trains, and pavements across our cities. Over a decade ago, I started exhibiting street art and embarked on various projects that reinforced my belief in its power. I’ve had the privilege of working with artists who have experienced the toughest aspects of life, survived unimaginable challenges, and emerged stronger, drawing inspiration from their experiences. As I developed a deep appreciation for street art, it was almost inevitable to fall in love with one of its most prominent figures: Banksy, the most renowned unknown artist. My passion grew for providing a platform for emerging artists and helping those who are often overlooked or given limited opportunities. However, in 2020, when the pandemic hit Europe and brought many things to a standstill, I connected with Oliver Forster, CEO and Founder of COFO Exhibitions. Oliver, a true art enthusiast and visionary, shared my desire to bring culture, art, and inspiration to people during these challenging times and had a profound appreciation for Banksy and street art. Curating „The Mystery of Banksy“ allowed us to showcase the artist’s lost works while supporting emerging street artists in the process.
Annett Conrad: Could you please explain to us and our readers what you believe is the most significant aspect of Banksy’s work that visitors to the exhibition should grasp?
Virginia Jean: The most significant aspect of Banksy’s work that we hope visitors to the exhibition will grasp is his ability to communicate profound messages using simple materials and techniques. Banksy often uses just a can of spray paint and a cardboard cutout, yet manages to convey strong social and political commentary through his art. His brilliance lies in distilling complex issues—such as inequality, war, and consumerism—into visuals that are both accessible and impactful. For this particular exhibition, another crucial point is that all of the artworks are replicas. This is because many of Banksy’s original pieces have been lost, destroyed, or are now held in private collections, limiting public access. By recreating these works, we not only preserve the public spirit of Banksy’s intention, but we also provide a platform for emerging artists to showcase their talent. This approach keeps Banksy’s messages alive and accessible to the public.
Annett Conrad: Banksy’s works are often political and socially critical. How does the exhibition reflect these aspects of his work, and what messages do you aim to convey to the visitors?
Virginia Jean: Looking at a Banksy work is like reading the headlines of a newspaper—it confronts us with issues we see and hear about daily, whether it’s domestic abuse, animal testing, the refugee crisis, political corruption, or war. Banksy’s pieces are relevant to all of us because they speak directly to us, urging us to reflect on the world we’ve created. His art reminds us that we are responsible for these global challenges, and that only through our collective action can we begin to address the problems we’ve ignored or allowed to persist. The exhibition reflects these themes by showcasing works that are as provocative and urgent as ever. Banksy has a unique ability to say so much in a single piece of art, and his messages cut through more sharply than any description or explanation could. Ultimately, our aim is for visitors to leave with a renewed awareness of their role in shaping the world, much like Banksy’s art prompts us all to do.
Annett Conrad: Reflecting on your role as curator of several Banksy exhibitions: How can the exhibition expand public awareness of the complexity of Banksy’s work and its interpretations?
Virginia Jean: As a curator of several Banksy exhibitions, my role has been to present his work in a way that illuminates its depth and multifaceted nature. This exhibition aims to expand public awareness by offering a comprehensive view of Banksy’s art that goes beyond the initial shock value. By featuring replicas of his most impactful pieces, we can delve into the layers of meaning behind each work. We provide context that highlights the historical and socio-political background of his pieces, offering visitors a deeper understanding of the issues Banksy addresses. Additionally, we incorporate interpretative materials and interactive elements that encourage visitors to engage with the art on a more personal level, fostering a more nuanced appreciation of his commentary. The goal is to create an environment where visitors can explore the complexity of Banksy’s messages and interpretations, reflecting on how these works resonate with contemporary issues and their own experiences.
Annett Conrad: Banksy’s identity is a closely guarded secret. How does this anonymity influence the reception of his artworks, and how do you address this in the exhibition?
Virginia Jean: One of the most common questions we receive is, ‚Who is Banksy?‘ I usually respond with a smile, as his anonymity is a crucial aspect of his work. Supporting Banksy through this exhibition means respecting and upholding his choice to remain anonymous. This secrecy is not merely a marketing strategy; it is essential for him to continue his provocative art and avoid serious legal consequences related to the ‚vandalism‘ his work often entails. As Banksy himself has said, ‚In order to speak the truth and have people listen, you have to wear a mask.‘ By honoring his anonymity, we not only preserve the integrity of his message but also underscore the important role that secrecy plays in enabling him to challenge societal norms and provoke thought.
Annett Conrad: Another significant issue is the lack of permission from the artist himself for this exhibition. As a curator, how do you navigate the controversial discussion within the community regarding fake Banksys and their impact on Banksy’s work?
Virginia Jean: This exhibition is an homage to Banksy, featuring replicas of lost and destroyed works that were intended to be seen, NOT presenting fake pieces as authentic. Working with an anonymous artist does present challenges, which is why we are meticulous about ensuring everything is handled correctly. We maintain close communication with individuals connected to Banksy to ensure that all information and texts in the exhibition are accurate and approved. Another vital step for us is to give support to and make aware of Banksy’s foundation, Louise Michel, is particularly meaningful since the very beginning of or exhibition in 2021. Louise Michel is not just a foundation; it is a ship that has been actively rescuing refugees from the sea since 2019. This vessel embodies Banksy’s commitment to humanitarian causes. We don’t want to „steal“ or „fake“ anything here, quite the contrary, we honor Banksy’s vision and reinforce our dedication to social justice and aid for those in need.
Annett Conrad: In 2014, Banksy commented on the exhibition „Stealing Banksy“ as follows: „I find it disgusting that people are allowed to exhibit street art without permission.“ What role do ethics and morality play concerning the exhibition of Banksy’s imitation artworks, particularly regarding issues of ownership and legality?
Virginia Jean: Banksy’s comment on the ‚Stealing Banksy‘ exhibition highlights a crucial issue regarding the ethics of exhibiting street art without permission. However, it’s important to clarify that our exhibition operates within a different context. The works on display are not stolen but are carefully created replicas of lost or destroyed pieces. Our goal is to honor and preserve Banksy’s art in a way that aligns with his vision and ensures that these significant works remain visible to the public. We deeply respect and support the few remaining original pieces that are still on the streets, recognizing their profound impact and the need to protect them. It’s worth noting that Banksy himself has outlined a list of exhibitions he does not support, and we are not included on that list. Our exhibition is designed to celebrate his work responsibly and ensure that his powerful messages continue to reach and inspire audiences.
Annett Conrad: Could you provide us with insight into future projects or developments related to the Banksy exhibition, and how do you plan to maintain the relevance of Banksy’s art for future generations?
Virginia Jean: Banksy’s art will undoubtedly remain relevant for future generations, as it addresses fundamental societal and global issues that continue to resonate today. His work consistently highlights critical problems that persist and often deepen over time, proving the enduring power of his commentary through new pieces that emerge. As for our future plans related to the Banksy exhibition, I’m unable to provide specific details.
I thank Virginia Jean for the insightful answers.
These are the original, unedited answers.
Here you can find the interview in German
This is the way to our article about the exhibition
