Sell-out, stuntman, savant: A quick peek inside Banksy’s brain

Website Disclaimer October 2024

Important Legal Information & Terms of Use

By using the Cape Capital website (“Website”), you declare that:

You are a qualified investor according to Art. 10 para.3 of the Swiss Collective Investment Scheme Act (CISA) and/or a professional or institutional investor according to Art. 4 of the Financial Services Act (FinSA).
You are domiciled in Switzerland
You have understood and agree to the following Important Legal Information and Terms of Use (together “Conditions”)

By clicking “Accept all” you acknowledge and accept the following Important Legal Information and Terms of Use:

‍

About this Website

‍

The content of this Website (including microsites) has been prepared by Cape Capital AG, with its registered address at Utoquai 55, 8008 Zurich, Switzerland (“Cape Capital”), duly registered at the commercial register of the Canton of Zurich with number CHE-109.617.147. and contains the views and opinions of the particular individuals and is for general information and marketing purposes only. All copyrights and other rights, included but not limited to logos and registered trademarks relating to the entire content of the Website are reserved exclusively to Cape Capital or the specifically designated right holders. Any use, in particular the reproduction or publication in full or in part is permitted only with the prior written consent of Cape Capital. Cape Capital may from time to time suspend the operation of this Website for repair, maintenance or improvement work, or in order to update or upgrade its content or functionality. Cape Capital may also change the format, content and/or access of this Website at any time at its sole discretion without notice. Although Cape Capital believes that information provided on this Website is based on reliable sources, content on this Website is presented only as of the date published or indicated, and may be superseded by subsequent market events or for other reasons. Therefore Cape Capital cannot assume responsibility for the quality, correctness, timeliness or completeness of the information contained herein. Unless otherwise stated, the numbers/figures on the Website are unaudited.

‍

Regulatory Status & Ombudsman

‍

Cape Capital is a regulated asset manager of collective assets according to the Federal Act on Financial Institutions of 15 June 2018 (FinIA) and supervised by the Swiss Financial Market Supervisory Authority FINMA, Laupenstrasse 27, CH-3003 Bern, Switzerland (FINMA). The Website contains information about various collective investments (“Funds”) which may have been registered or otherwise notified for distribution and marketing in the jurisdiction you have selected. Please note, that such registration or notification does not mean that the Funds are suitable for all investors and their investment objectives, financial situation and risk profile. As an asset manager of collective assets, Cape Capital is, among others, subject to the rules under the Swiss Financial Services Act (FinSA), the Swiss Collective Investment Schemes Act (CISA) and the Swiss Financial Institutions Act (FinIA).Cape Capital is affiliated to the following Ombudsman according to FinSA: Finanzombudsstelle Schweiz (FINOS), Talstrasse 20, CH-8001 Zurich, Switzerland. For further information, please refer to the General Client Information Document available on the Website which forms an integral part of these Conditions.

‍

No Solicitation, Offer, Recommendation or Advice

‍

Nothing contained on this Website constitutes a solicitation, an offer or a recommendation to buy or sell any Cape Capital Funds or other financial instruments, nor does it constitute any form of personal investment advice which takes into account your personal circumstances. Cape Capital does not provide investment, legal, tax or other advice through this Website and nothing herein should be construed as such advice. Cape Capital does not represent that any Cape Capital collective assets or financial instruments mentioned on this Cape Capital website are suitable for any investor. Investment or other decisions should be made solely on the basis of the relevant product and/or service documents (prospectus/offering memorandum, fund contract/articles, key information documents, financial reports) of the respective collective investment. If not a Cape Capital client, it is strongly recommended to contact a professional financial advisor, tax consultant or other qualified expert in order to determine whether an investment in a Fund or other financial instrument corresponds to the specific requirements and preferred level of risk of the investor.

‍

US Persons

‍

Any collective investment schemes mentioned on this Website may, unless explicitly stated otherwise, not be offered, sold or delivered to United States (U.S.) citizens or persons resident or incorporated in the U.S. and/or other natural or legal persons whose income and/or returns, regardless of origin, are subject to U.S. income tax, as well as persons who are considered to be U.S. persons pursuant to Regulation S of the U.S. Securities Act of 1933 and/or the U.S. Commodity Exchange Act, in each case as amended from time to time.

‍

Risk Considerations

‍

The provision of financial services and investments in Funds and other financial instruments involve opportunities but also bear risks, including the risk that the value of investments and the income therefrom may fall or rise and investors may not get back the full amount invested or may even lose all of their investment. Investors should ensure to have fully understood such risks before taking any investment decisions. Cape Capital strongly advises to consult the brochure “Risks Involved in Trading Financial Instruments” of the Swiss Bankers Association (SBA) as well as the relevant documents of the respective Fund or financial instrument and to seek professional investment advice before taking any decision to invest. Investors should note, that these Conditions do not represent a complete statement of risks associated to a Fund or a financial instrument. Past performance is no indication of current or future performance. Performance data do not include commissions and costs incurred by investors when subscribing or redeeming Fund shares.Investments, in particular collective investments in private equity, venture capital and other illiquid assets involve an above-average degree of risk, including the risk that losses may even exceed the original investment and should be seen as long-term in nature.

‍

No Warranties

‍

The use of this Website, including any information accessed, downloaded or otherwise obtained through the Website is at your own risk. This Website, together with all content, information and materials contained therein, is provided “as is” and “as available”, without any representations or warranties of any kind, whether express or implied, with respect to the Website, and all information and functionalities contained therein.

‍

Limitations of Liability

‍

IN NO EVENT SHALL CAPE CAPITAL BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, PUNITIVE, CONSEQUENTIAL OR OTHER DAMAGES (INCLUDING WITHOUT LIMITATION DAMAGES FOR LOSS OF DATA, BUSINESS OR PROFITS) ARISING OUT OF OR IN CONNECTION WITH THESE CONDITIONS, THIS WEBSITE, THE INABILITY TO USE THIS WEBSITE OR ANY INFORMATION OBTAINED OR STORED THERFROM. Cape Capital excludes any liability for any loss, damage or alteration of any kind including but not limited to transmission to losses, delays, misunderstandings, unauthorized interception by third parties, duplication or fraud, except in the event of gross negligence on the part of Cape Capital. Any transmission or download of information is entirely at your own risk.

‍

Use of Links

‍

The hyperlinks on the Website are only provided for information and convenience purposes. Cape Capital is not responsible for the content of external websites that link or are accessible from this Website. Cape Capital does not assume any responsibility or liability with respect to any website accessed via this Website. Please note that when you click on any external website’s hypertext link you will leave this Website. You should review the privacy statements of such websites carefully before you provide any personal or confidential information.

‍

Electronic Communication Channels

‍

The use of electronic communication channels, in particular unencrypted e-mails and text messages, is associated with various risks which may include, but are not limited to, the risk of transmission errors, alterations or duplications, the risk of interception or manipulation of content and the risk of introducing malicious software (malware) by unauthorized third parties. By using such electronic communication channels, you accept these risks and agree to bear any resulting losses or damages.

‍

Data Protection and Privacy Settings

‍

Cape Capital has established a Cape Capital Privacy Notice, which forms an integral part of these Conditions. It explains how personal data is collected and processed at Cape Capital, including this Website. Cape Capital uses cookies to personalize and improve site experience. You can at any time change or withdraw your consent from the Cookie Declaration on the Website. Your consent applies to the following domains: capecapital.com. Your current state: Consent accepted or Consent rejected. Manage your consent.

‍

Applicable Law and Jurisdiction

‍

The access and use of this Website, and these present Conditions are governed by substantive Swiss law with the exclusion of the conflict of law principles. The place of jurisdiction is Zurich, Switzerland.

Last Update: October 2024

Your preference will be securely stored for the next 30 days.

Decline Accept All

To access the website, the terms and conditions need to be accepted.

View terms

Préférences

La confidentialité est importante pour nous. Vous avez donc la possibilité de désactiver certains types de stockage qui peuvent ne pas être nécessaires au fonctionnement de base du site Web. Le blocage des catégories peut avoir un impact sur votre expérience sur le site Web. capecapital.com

Accepter tous les cookies

Merci ! Votre candidature a été reçue !

Oups ! Une erreur s'est produite lors de l'envoi du formulaire.

He lurks street corners at night and makes appearances when you least expect it. You see traces of him, but never actually the man himself. He’s shrouded in mystery. And don’t you dare utter his name – even if you do know who he is.

We’re not talking about a ghost: we’re talking about Banksy, one of the most notorious artists of our time. Based in England and working anonymously, he’s best known for his kitschy street art made using a distinctive stencil technique, often drawing on political satire and tongue-in-cheek observations about societal events.

‍

The making of a cultural icon

‍

Since he started in the ’90s, Banksy has built a huge global appeal. His works pop up on your Instagram feed (at present, he boasts more than 13 million followers), on news briefings and, if you’re lucky, on street corners during your commute. Having reached a level of mainstream popularity which is almost uncontested in the contemporary art world, putting him on a footing with the likes of Andy Warhol and Keith Haring, some people praise him for his political grit; others see him as a PR stuntman or sell-out. His work has had an impact on heritage law applying to art on the streets, and, over the last two decades, it’s estimated that he’s raised almost £30 million for charity. A long-running Robin Hood figure, he’s a major player in the art market, yet a large portion of critics appear to detest him: The Guardian’s Jonathan Jones argued “Banksy’s work is not real art” after his 2002 'Girl with Balloon' work was voted Britain’s 'best-loved' artwork in 2017.

‍

Fast forward to 2024 and the pseudonymous figure has been busy as usual – but being an internationally-renowned street artist doesn’t come without its hurdles. Earlier this year, tenants living in north London feared their rent would be hiked after he painted a mural of a Banksy tree on the side of their building. And, after former Home Secretary James Cleverly criticised his migrant boat artwork at Glastonbury Festival as “deeply distasteful”, he’s toeing a careful line.

‍

‍

Impact beyond the canvas: Banksy's influence on communities and law

‍

Susan Hansen works at Middlesex University, where she’s co-chair of the Visual and Creative Methods Group. She also edits Nuart journal, is the president of the International Visual Sociological Association, and has been studying Banksy for more than a decade. “It’s a really fascinating subject for visual sociology,” Hansen says. Her interest can be traced back to 2012, when Banksy created a work named “Slave Labour” on the side of a Poundland store in Turnpike Lane: a mural of a child at a sewing machine making Union Jack bunting, arriving during a time of fervent nationalism during the Queen’s Diamond Jubilee and the London Olympics.

‍

“Poundland was selling the bunting and there was a scandal with them getting involved in sweatshop labour that hired children,” Hansen says. The work became the subject of her research, photographing how the wall changed over time and exploring how the local community responded to the sudden presence of the Banksy. “If he hits a wall, things happen – the wall gets magnetised,” she says. ‘“Other artists, street artists and graffiti writers and ordinary people will make their own marks on that wall, or somebody might try to steal it. There’s an initial buzz of excitement, but also a longer tail of activity.”

‍

Locals swiftly became attached to the work and were left disgruntled when it was removed from the wall at night and shipped off to Miami for a private auction, arranged by the people who rented the building to Poundland. “People were writing on the wall ‘bring back our Banksy’ and even the local MP was on the news, demanding it was returned,” Hansen says. The ephemerality and uncertainty as to how long a Banksy will 'last' only adds to his mystique and hype – something the artist is careful to utilise to his advantage. “He works on democratic city surfaces, buildings get knocked down, so you can’t expect them [the works] to be forever,” Hansen says.

‍

The power of anonymity and performativity

‍

It’s not uncommon for artists or writers to work under a pseudonym – so what has made Banksy a household name across the world, operating at a level incomparable to the likes of other famous graffiti artists like 10 Foot and Stik? Hansen believes it comes down to strategy. “Banksy is a very smart business man and a pretty good PR,” she says.

‍

iStock-1454700783-modified-c6c4b7d8-ceac-45ae-ab41-bd35307ce3a2

‍

“The performativity plus the anonymity really captured people’s imagination in a way that other artists were not doing,” she says, talking about his ascent in the 1990s. He’ll go to great lengths to keep up this mystique: he stopped doing audio interviews in the early noughties and his show at Glasgow’s Gallery of Modern Art in 2023 required viewers to put their phone into a locked bag to prevent filming, photographing or sharing to social media, so you had to actually be there to see it.

‍

Art as activism or entertainment

‍

In 2009, the artist set up Pest Control – the official organisation working to authenticate his works, prevent fraud and stop the removal of his works from the streets – marking a landmark point in the professionalisation of Banksy as an artist and a brand. “That’s been key in discouraging the practice of stealing work from being in situ,” Hansen says. “He’s also started to change the way he works by producing pieces that only make sense in their original context, which discourages the practice of removal,” she says. She points to his recent stencil of a wolf howling at the moon in the satellite dish, which best “makes sense” when viewed at night – though was stolen within hours of it appearing.

‍

Some experts claim that Banksy’s works are “designed to be stolen”: it’s a strategic placement on the urban canvas, creating a level of anticipation from the public. “If you put something on a satellite dish or a street sign, then somebody’s probably going to steal it – probably someone from that local community,” Hansen says. “It’s reactionary.”

‍

The wolf work was part of a series of nine animal-themed street murals across London which appeared during the month of August. Initially interpreted by some experts as being about the war in Gaza, climate change or animal rights, it was eventually concluded that the works were “just for fun”: a bit of playful lightheartedness in response to the “serious things going on in the world”. In other words? A carefully positioned piece of PR. “The reception of his last work – the Glastonbury inflatable boat with refugees – did not go down so well,” Hansen says, referring to the controversial performance piece which made an appearance in the crowd during Little Simz’s set at the festival. “This recent London treasure hunt intervention was deliberately light and kitschy. He’s got to tread that line – his politics can be quite distressing subjects”.

Sell-out, stuntman or savant – who actually is he? Rumours range from drum and bass DJ Goldie to Massive Attack’s Robert Del Naja and Bristol-born Robin Gunningham. “Even if people could answer that question, they won’t,” Hansen says. “People would prefer that we didn’t know.”

‍

In this article

Susan Hansen

The Head of Visual and Creative Methods Group at Middlesex University, London. Convenor of Art on The Streets at the ICA London

Written by