The enigmatic Banksy. The very name evokes a sense of mystery, rebellion and artistic subversion. More than just a street artist, Banksy has become a global phenomenon, a cultural icon whose anonymity is as intriguing as his inspiring art. His works, often stencilled onto urban ‘canvases’ under the cloak of night, serve as potent social and political commentaries, challenging the status quo and captivating audiences worldwide.
Banksy’s anonymity is a deliberate artistic and socio-political choice that allows his work to maintain its subversive edge and focus on the message, something he likely believes would be compromised by the distractions and expectations that come with fame.
The power of Banksy’s art lies not only in its visual appeal but also in its accessibility and the often controversial messages it conveys. It took a few enthusiastic people with artistic initiative to put together exhibitions, permanent collections and museums around the world that showcase reproductions and works inspired by Banksy’s art – as an easier way for the public to experience his thought-provoking and often controversial pieces.
One of the most appreciated collections of Banksy’s artwork is hosted by Museu Banksy Lisboa. This museum offers an immersive experience into the artist’s universe, showcasing over 100 reproductions through various media, such as video installations, graffiti, canvases, projections and murals. The permanent exhibition covers a wide range of his career and political themes.
Museu Banksy Lisboa
I had the chance to talk with Mr Eliya Akbaş, the manager of Museu Banksy Lisboa, who kindly agreed to answer a few questions:
Mr Akbaş, thank you for agreeing to talk to me. What do you think about the possibility that Banksy might unveil his true identity someday?
I don’t think he’ll ever reveal his true identity. I believe that by now, Banksy has become more of an idea or an entity than a single person. There might be several people involved, or at the very least, a strong team supporting him. I actually love the thought that Banksy could outlive us – and even outlive himself.
Given the artist’s intrinsic anti-establishment approach and the ephemeral nature of some of his work, will you share the history behind the creation of the museum and how you manage to navigate the paradox of curating and exhibiting street art within a traditional museum setting?
It all began with Belgian-Albanian curator Hazis Vardar, who had the idea of opening an exhibition in Barcelona. A passionate fan of street art, he had visited several Banksy exhibitions that claimed to feature original works. Whether those claims were true or not, Hazis wanted to offer something different – a more immersive experience that allowed audiences to see Banksy’s art as it was meant to be seen: on walls.
Most of Banksy’s murals have either been destroyed or are scattered around the world, making them difficult to access. So, this exhibition is a unique opportunity for the public to discover his work beyond well-known images, such as Flower Thrower or Girl with Balloon.
Of course, I understand that not everyone is comfortable with the idea of a museum dedicated to street art. That’s why, from the very beginning, the curator made it clear that the exhibition consists only of reproductions, created by a collective of street artists. We’re also working on ways to support local talent like organising graffiti workshops – to stay connected to the roots of the art form.
What is the primary goal or mission of the permanent artworks collection you display?
The exhibition offers a unique opportunity to explore Banksy’s work all in one place. It brings together pieces spanning his entire career – from his early days in the early 2000s to the present – featuring works from the UK, the US, France, Italy, Palestine and Ukraine.
How does the museum aim to provide context and understanding to Banksy’s often politically charged and satirical stencils for a diverse audience?
The museum features over 100 displays, each accompanied by a description that includes the location and context of the artwork. This helps visitors understand the cultural, social and political backdrop in which each mural was created. Banksy’s work carries powerful messages – addressing themes like peace and injustice in the Middle East, social inequality in the US and UK, feminism and more. Everything is a reproduction. No original works have been stolen. The pieces were created by a group of talented European street artists.
How do you engage with the local community and other art institutions in Lisbon, and what has the reception been to the idea of a Banksy Museum?
We’ve started collaborating with local artists and the Lisbon Street Art Tour to host graffiti workshops, and we also offer guided tours, including a special one for Carnation Day. This particular tour is conducted in Portuguese and was created by one of our guides, who has a deep passion for history and philosophy. Although Banksy never worked in Portugal, the guide felt that many of his pieces could be connected to the themes of the revolution and Freedom Day. The response from the audience has been overwhelmingly positive.
Looking ahead, what are your aspirations in terms of the museum’s collection, exhibitions and public engagement?
We plan to open new rooms and potentially incorporate more digital elements in the future.
If Banksy were to visit the museum unannounced, what do you think his reaction would be? What message would you convey to him about your intentions?
I believe that, more than visiting the museum, many Portuguese people would be thrilled if Banksy were to leave a mural in Portugal. The rise of the far right is also becoming a concern here, and minorities are facing significant challenges, much like in the rest of the world. If Banksy does visit the museum, perhaps he could join one of our guided tours. I hope he will see how deeply we respect his work and street art in general.
Mr Akbaş, I appreciate you taking the time to speak with me. Do you have a message for the readers of Tomorrow Algarve magazine?
I encourage people to appreciate street art and keep an open mind. I also highly recommend the Lisbon Street Art Tour – it’s a fantastic collective that allows you to explore the city’s neighbourhoods through the lens of street art.
This summer, follow Museu Banksy Lisboa on social media for new graffiti workshops and a special guided visit. The regular Monday guided tours are also available in Portuguese, English and Spanish.
Address: Rua Viriato 25B, 1050-234 Lisbon
Opening hours are 11 am to 8 pm on weekdays and 10 am to 8 pm on weekends. The last entry is one hour before closing time.
(Photo credits: © Solène Milcent, courtesy of Museu Banksy Lisboa)
If Stencilled Walls Could Talk
In his forthcoming book, Dan Costinas imagines an interview with Banksy. Unuttered Interviews with Undeniable Celebrities will be published in 2026.
Setting for the interview:
A dimly lit room with white walls and a single bare bulb hanging overhead. Banksy sits in shadow, his features hidden beneath the billowing fabric of a large hoodie. A compact digital VAR – voice alterer and recorder – rests on a small coffee table between us.
Interviewer: So, Banksy, or whoever you are … thanks for agreeing to meet us.
Banksy [voice distorted:] “Agreeing” is a strong word. Assume that I tolerated the intrusion.
Q: All right, let’s start with the big question: why the anonymity?
A: Anonymity is my brand; it is the canvas on which I paint the chaos that surrounds us. Anonymity gives me the freedom to say what I want, without the baggage of ‘Banksy the celebrity’ getting in the way. If you knew my face, you’d focus on the man, not the message. My strong belief is that the message is the only thing that matters.
Q: But doesn’t it feel a bit … cowardly? Hiding in the shadows, throwing stones?
A: Cowardly? I’m the one painting on walls, you’re the one sitting in a comfortable chair, asking me comfortable questions. Besides, who’s really hiding? The artist? Or the corporations and governments camouflaged behind layers of bureaucracy? Power is a virus. It corrupts, it isolates, it blinds. Art is the antidote. A visual disruption of the status quo. A way to remind people that they’re not powerless.
Q: Many consider your work vandalism. What’s your response to that?
A: Vandalism is a word invented by those who own the walls. If you’re going to paint a mural on a wall that’s already covered in advertising, who’s the real vandal? The one who adds a little bit of truth, or the one who sells you lies?
Q: What about the stunts, the shredding, the self-destructing artwork? Are they just publicity?
A: Publicity? No. Performance art. A commentary on the absurdity of the art market. A reminder that art is more than just a commodity. It’s a feeling, an idea, a revolution.
Q: Do you ever feel like you’ve changed anything? Made a real difference?
A: [After a long pause] I don’t know. I hope so. I hope I’ve made a few people think. Question things. Maybe even pick up a spray can and express themselves.
Q: What’s next?
A: The next wall. The next idea. The next act of visual defiance.
The recorder clicks off. Silence descends.
Banksy is gone, leaving behind a stencilled wall and a faint scent of paint, together with the same lingering question of his identity.
