The Metropolitan Museum of Manila’s (MMM) announcement of its upcoming exhibit, “Banksy Universe Manila 2024,” sparked uproar among netizens. On the surface, the production aims to showcase the works of the enigmatic street artist Banksy, offering Filipino audiences a closer look at his creations.
However, a key detail merits debate. The exhibit is not authorized by Banksy himself, as confirmed by his exclusive licensing company, Pest Control Office. In fact, they expressly state the artist “is not involved or associated with” any of the different exhibitions of his work worldwide. The Museum also acknowledges this in its press release, stating it aligns with the artist’s history of remaining unaffiliated with official exhibitions.
This raises questions about the legitimacy and purpose of such an exhibit. Proponents argue it provides a valuable opportunity to learn about Banksy’s art and its social and political commentary. Opponents are quick to point out the irony of showcasing Banksy’s work in a museum and how it contradicts his anti-establishment message. Banksy’s art thrives in unconventional spaces, challenging the authority of traditional art institutions like MMM. Additionally, some question the ethics of profiting from the work of an artist who actively rejects commercialization.
Further complicating the situation is the involvement of Bonifacio Global City (BGC) as a partner. BGC’s stance against unsanctioned street art has drawn criticism from the local art community. This perceived dissonance between promoting a commercialized version of street art and restricting genuine artistic expression fuels the debate.
However, there are alternative perspectives to consider. Despite being an unauthorized exhibit, it still presents an opportunity to introduce Banksy’s art and social commentary. Especially to a wider Filipino audience who might not otherwise encounter it. This broader accessibility could spark valuable public discourse about the ethics of unauthorized exhibits, the value of street art, and the role of museums in presenting challenging art. It’s also interesting to note that Pest Control neither condemned or condoned Banksy Universe, choosing to simply disassociate themselves from it.
Furthermore, you could argue that the controversy surrounding the exhibit is part of the commentary. By presenting Banksy’s work within the very institution he critiques, the exhibit forces viewers to confront his ideas within a new context. Perhaps the “unauthorized” nature of the exhibit becomes part of the artistic statement. Is this the commercialization of rebellion?
The museum setting could also be seen as a platform for Banksy’s message to reach a new audience. Exposure to his work, even in a non-traditional format, could inspire a new generation of Filipino street artists, echoing Banksy’s original spirit of DIY public commentary. Additionally, Banksy himself is infamous for his unpredictability.
On one hand, “Banksy Universe Manila 2024” presents a unique opportunity to engage with the work of a significant contemporary artist. On the other, the unauthorized nature of the exhibit and the involvement of BGC raise questions about its alignment with Banksy’s artistic philosophy. Either way, we can’t just ignore the potential for broader accessibility, public discourse, and even unforeseen artistic outcomes. The true impact of the exhibit will likely depend on its execution and the conversations it sparks about art, authority, and social commentary.
Where do you stand?
Image sourced from WikiCommons.
Read more: Artwashing: How States Sweep the Dirt Under the Canvas
When one thinks of the Tree of Life, several images may come to mind because of its deep roots in different cultures and religions. The first and last books of the Bible mention it together with the Tree of Knowledge in the Garden of Eden, while the Bodhi Tree in Buddhism was where Siddhartha Gautama […]
The ALT Collective is set to present its most ambitious edition yet when ALT ART returns to Manila this February. Moving to the SMX Convention Center at the Mall of Asia Complex in Pasay, the fourth iteration of this contemporary art showcase represents a significant leap in scale and ambition for the Philippine art scene. […]
The CWC Design Center (CDC), along with the Urban Land Institute (ULI) Philippines, hosted its Resilience by Design: Strengthening Cities, Buildings, & Communities event. The event invited Architect Eric Manuel of ARCH Capital, Architect Gelo Mañosa of Mañosa & Co., and Oliver Chan of Arthland as panelists. Aptly named, the event discussed how good design […]
Situated in Cubao, Quezon City, MIRA by RLC Residences offers a warm and thoughtful environment for couples preparing for their next chapter. Driven by the idea of home beginning long before one starts a family, this community is built around comfort, community, and the everyday rhythms of family life. Family First MIRA offers compact and […]
On January 15, 2026, the Likhang Filipino Exhibition Halls opened its doors to take a bold step towards showcasing Filipino creative excellence. On that day, President Ferdinand “Bongbong” Marcos Jr., joined by First Lady Liza Araneta-Marcos and former First Lady Imelda Marcos, led the official opening ceremony. Situated along Roxas Boulevard, Pasay City, its 8,000-square-meter […]
As Filipinos embrace the new year and the changes it brings, they are also bringing an introspective look into their living spaces. BluPrint offers a list of interior design trends suitable for the modern Filipino home. Modern Folk Modern folk blends traditional craftsmanship, cultural expressions, and natural materials with modern simplicity. This design style taps […]
