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admin 31.10.2015

BANKSY is a modern pseudonymous legend who is famous for stencil art containing political satire.
Banksy is back and better than ever in the latest documentary film from HBO – BANKSY DOES NEW YORK.
On October 1st of 2013 Banksy took over New York, in a web inspired cat and mouse chase where his street art brought audience participation through social media to a whole new level. Each and every art piece unveiled over the thirty one days is equally ludicrous and intelligent and surprisingly still Banksy’s identity is never revealed. Not to be confused with EXIT THROUGH THE GIFT SHOP, this documentary is driven purely by audience generated material with no direct involvement from the artist himself. Juxtaposed shots of graffiti art on a street wall, with the image painted over in a matter of hours remind us not everyone is in on the movement. From the soundtrack, to the stylised editing, BANKSY DOES NEW YORK is interesting, educational and downright hilarious.
Download free movies, Watch free movies, Avi, HD, Divx, Streaming, Ios, Mpeg, Mp4, Tube, HDQ, 1080p, Android. Watch free Banksy Does New York streaming movie online, Download Banksy Does New York full length movie. Die Dokumentation Banksy Does New York zeichnet ein 31-tagiges Kunstexperiment in New York nach. Handlung von Banksy Does New YorkDer bekannte Street-Art-Kunstler Banksy begab sich im Oktober 2013 fur einen Monat nach New York. Here are some things you should know about the film, in no particular order and pieced together, Moukarbel-style.
But eventually, via Pest Control (the closest thing Banksy has to “people”), Banksy gave Moukarbel notes to clarify direction or accuracy of his pieces. Pest Control does not certify Banksy’s street art, claiming that he wants these pieces to exist in their original context. It was a “baller” move, according to Moukarbel, and one of his favorite clips from the film: while Banksy hunters were admiring the smashed cinderblock sphinx sculpture in the sparse, muddy lot, ooohing and ahhhing and posting on Instagram, some local guys in a moving van pulled up. Banksy is there on the scene, watching people congregate around his work—no, wait, he’s one of the swagger jackers…and that’s the point of the residence, a sort of social experiment: see what happens and how people react in certain situations. As the underlying message of the film posits, it was to bring people together, to force them into areas they’d never normally visit. While mining footage for the film, Moukarbel discovered two extremely committed Banksy hunters, vloggers Two Way Traffic, and he followed their daily excursions in real time. But at least they’re following the chaos at the scene via Instagram and Banksy’s official site, which is also home to the audio tour. Even for those of us with little or no interest in street art, there is something undeniably cool about English street artist Banksy.
The new HBO documentary Banksy Does New York derives its appeal in no small part from our natural fascination with its subject.
The release of artworks as part of Better Out Than In followed a specific pattern: a photo of the work would appear on Banksy’s Instagram account each morning, together with a consistently funny “audio commentary” by Banksy on the work and a clue as to its location. La HBO ha annunciato la data, 17 Novembre, della prima uscita del documentario "Banksy Does New York", una raccolta di filmati originali sulla street art e la reazione del pubblico alle opere del misterioso artista. In October of 2013, English street artist Banksy travelled to New York and took up a 31-day residency, announcing through his website that he would create a new piece of street art somewhere in the city every day for a month. Unlike Exit Through the Gift Shop, which Banksy produced and directed, Banksy Does New York has had (allegedly) no influence or input from the man himself. Through showing people who want to see it on the streets, people who pay to see it in galleries and private collections, people who pay even more to add it to their own private collections, and the people who take it off the streets to sell to the private collectors, the documentary shows all the different sides of all the people who feel they have a say and an entitlement to some aspect of Banksy’s art. And the film lets you make up your own mind about it, and indeed about everything surrounding Banksy. This documentary is a must-see for anyone who likes art, particularly those who either hate street art or love it.
No one knows who he is and his galleries are the streets, he never sells his art but auctioneers literally sell the walls his work is painted on with people left to sort out removal themselves. Director Chris Moukarbel skilfully guides his audience through the thirty one days in New York where Banksy’s ‘better out than in’ street art exhibition took place. Over the course of the month, a new piece of art appeared each day and virtual clues were left as to its whereabouts in New York City.
In the ‘Sirens of the Lambs’, an anonymous man drives a slaughterhouse truck filled with terrifying squealing plush sheep and cows to meatworks around the city. Of the city’s fanatical fans, various art critics in New York also weigh in on the movement – there is no doubt everyone has an opinion on Banksy. When Banksy decides he will sell original signed works for $60 on a busy street, locals are fuelled by distrust and the stall owner is more excited by his kebab then the very few sales he makes. Banksy Does New York film provides an entertaining and well made story, but, it’s hardly innovative. Out jumped Bernardo “Choco” Veles and a handful of men, who proceed to load the piece into the back of the van, brick by brick, with a typical whadd-ayya-gonna-do-about-it?

Owner of the Keszler Gallery in Southampton, he’s like the IRL embodiment of gallery manager Serge in Beverly Hills Cop. And at the end of the film, as the end credits roll over Frank Sinatra’s “Theme from New York, New York”*, as the message “Save 5Pointz” runs across the screen, I buy into it 1,000 percent. On day 31, the final day of the residency, the duo is in their car trying to reach Inflatable Throw-Up—gigantic mylar balloons floating across the side of a building, spelling out B-A-N-K-S-Y-! As Sinatra’s “Theme from New York, New York” closes out the tour, Kurt says, “What a fitting end to the movie, as the credits roll…this was the song he had on his audio tour. Particularly early in the film, there is excessive use of the kind of handheld, “queasy-cam” footage that really gets up David Stratton’s goat. If you’re digging ReelGood, sign up to our mailing list for exclusive content, early reviews and chances to win big!
Scattered across the whole of Manhattan Island these artworks sent people scrambling across the city, often to places they’d never been or heard of in order to catch a glimpse of the works before they were painted over, graffitied on or removed completely.
It presents a number of facts, a number of viewpoints, and a number of things to think about, but doesn’t tell you how or what to think about any of them. He has been known to paint his art on the doors of places in need of money and his legend is world known, and not all of it with love. The documentary film is almost solely commentated by the eclectic residents of New York, each of whom sharing their personal response to the movement.
In BANKSY DOES NEW YORK’s opening scene, we observe crowds of locals as they photograph a group of men madly scaling an inner-city building in an attempt to steal BANKSY (the balloon letters that spell his name that is). Banksy’s legitimacy not only as an artist but as a businessman is cemented when New Yorkers fail to learn the identity of the driver, due to a contractual agreement. Of course this is made light of the following day when it is revealed those few who decided to make a purchase now own a real Banksy worth over $40,000.
There’s a lifting of the spirit, combined with a sadness, a nostalgia for an NYC that once was and an NYC that still is, connected by creatives, artists, entrepreneurs (dudes in East New York charging $20 to take a photo with the Beaver piece, I’m talking to you), and parasites alike. In this era of George Brandis looking at our metadata, tabloid journalists listening in on people’s phone conversations and everyone walking around with high-definition cameras in their pockets, Banksy’s identity has, remarkably, remained a secret since his rise to prominence in the late 1990s (although the Daily Mail claimed in 2008 that it had identified him as Robin Gunningham, a “nice middle-class boy” from Bristol). Rather, it was compiled by director Chris Moukarbel mostly from footage uploaded by members of the public to video-sharing websites like YouTube. This being the 2010s, many of them recorded their hunt and it was this footage that was later used by Moukarbel to make Banksy Does New York. There are also a number of inane comments made by interviewees that could have been simply left out of the film.
The works ranged from paint on walls to sculptures to balloons to a dodgem car carrying a figure dressed as Death around an abandoned lot, and prompted unprecedented commentary on news networks and, most importantly, on social media. These reactions are especially interesting, and become central to the film’s main themes – what constitutes art? I could go on and on and on about Banksy, but I was stuck at home still sick and the delightful Kernel Emma headed into this movie about the amazing artist. Immediately we are given a sense of just how many people were following this movement and the brilliant chaos which ensued. Another of Banksy’s challenging art pieces is named ‘the banality of the banality of evil’. Whatever this opinion may be, the range of subjects Mourkabel hand-picks work perfectly to the edgy and sarcastic tone of the film. Another scene shows a rather pretentious art dealer collecting original Banksy’s in his gallery – noting confidently that he is doing Banksy a favour and the artist would be thankful.
BANKSY DOES NEW YORK is not without its flaws, but is certainly worth a watch, regardless of your stance on the artists’ works.
Die Dokumentation gibt einen Einblick in diese Massenphanomen und tragt dafur das Material aus unzahligen YouTube-Clips, Instagram-Bildern und TV-Berichten zusammen.
Moukarbel combed social media and YouTube for hashtags, watching hours upon hours of video filmed by New Yorkers participating in what evolved into an urban scavenger hunt.
The film follows Choco for a bit, letting us into his world, and we discover that his business is on the rocks and he’s taking care of his elderly mother. Are you Banksy?” Moukarbel laughed…but then again, there was that one time when he organized a reunion with hardcore Banksy hunters at the site of Inflatable Throw-Up.
They don’t make it: the balloons are stolen and the cops are called before they’re even close to the site. The documentary deals with the one-month period in October 2013 during which Banksy unveiled a new work of art each day in the city of New York.
Some of the works released by Banksy were the sort of stencil art for which he has become famous.
The social phenomenon that it depicts is so interesting, however, that you can’t help but be drawn in and propelled along by the story of Better Out Than In. An art expert interviewed in Banksy Does New York issues a scathing critique of the artist, describing his works as populist, unsubtle and uninteresting. In some of the artist’s most clever pieces to date, viewers are given an insight into art in the modern world, where audience participation is arguably just as important as the piece of art itself.

It is fantastic to see the diverse city brought together; from a piece in the Bronx where locals begin charging $2, to a satirical art exhibition under a bridge where wine is served from a water cooler. Here a rather boring image of a landscape is given the Banksy signature, when an image of a Nazi solider reflecting on a park bench is drawn into the painting. Similarly the comments and photos extracted from social media are selected perfectly so as to enhance the comedic tone. Funnily enough none of these pieces sell and audiences are far more attracted to exhibitions on the street in their natural habitat.
Eventually Moukarbel stitched select clips together (along with footage of his own) into the cohesive seventy-minute documentary Banksy Does New York, which premiered this week on HBO. Banksy steals into cities in the dead of night and illegally creates his street art using spray cans and stencils.
This project, which received a large degree of media attention at the time, was described by Banksy (with tongue in cheek) as an “artistic residency” and was titled Better Out Than In.
We are forced to explore our active consumption of art, as Banksy literally invites audiences to step in and become part of the picture. Each of the thirty one pieces is vastly different in their nature, ranging from the politically and religiously motivated to those concerned with the effects of censorship and gentrification. Named after Hana Ardent’s biography and challenging in nature, the proceeds of the art sale are given to charity and once again Banksy leaves us asking questions.
As Moukarbel approached, they pulled up a pic on a phone of one of the guys who tried to steal Inflatable Throw-Up Keszler-style.
It occurred against the backdrop of the planned demolition of “5 Pointz”, an old warehouse complex in New York famous for its beautiful street art, which is also discussed in the documentary.
On 17 October, for instance, he placed a giant Ronald McDonald statue outside a McDonald’s restaurant in the Bronx, with a (real-life) person dressed in Dickensian working class garb shining the shoes of the scowling Ronald.
These are people who devoted the period of the residency to driving around New York looking for the newest Banksy once the artist had released the clue as to its location. You can’t help but feel that the expert somehow does Banksy an injustice or misses the point, however. With wide appeal, and just the right amount of political incorrectness this is a documentary not to be missed. Perhaps even more interesting than the art pieces themselves is the overwhelming audience interaction. On another day, a cargo truck full of squealing stuffed animals was driven around the meatpacking district of Manhattan and other areas. Some, like then New York Mayor Michael Bloomberg, argue that Banksy’s work is not even art because its production involves a crime.
Whether he or she was looking to provide a serious critique of our obsession with ownership, making art a commodity and ‘selling out’ or whether Banksy simply wanted to watch the madness play out – the result is seriously entertaining! My favourite piece was an op-ed column submitted by Banksy to the New York Times (and rejected by the Times) that criticised the architectural design of One World Trade Centre, describing it as “vanilla”, a “non-event” and “something they would build in Canada”.
This wowserish view is surely incorrect but what then is the difference between Banksy’s artwork and a “tag” on the side of a Metlink train? New Yorkers are desperate to get themselves a Banksy and will steal, sell and claim ownership in order to succeed.
Banksy Does New York doesn’t pretend to provide satisfactory answers to any of these questions but it does get you thinking about them and, who knows, perhaps that was what Banksy was aiming for with Better Out Than In. Is this a modern artist engaging directly with his audience in a light-hearted yet authentic way and making the experience of seeing the art part of the art itself? Perhaps uniquely among successful contemporary artists, he doesn’t appear to take himself ? or indeed anything ? too seriously.
Or is it, as some suggested in the film, a “hipster scavenger hunt” for spoiled upper-middle class yuppies with nothing better to do, orchestrated by a public relations master? Then there are those, who, at first glance, appear to be the villains of Banksy Does New York. They include a gentleman called OMAR NYC who is shown “tagging” a Banksy, some tough-looking guys in a rough neighbourhood of East New York who (I think hilariously) attempt to charge the Banksy-hunters to see a picture of a beaver Banksy has stencilled onto a wall and threaten to paint over the picture if they don’t receive their money and, lastly, a family of Hispanic Americans who steal a replica of the Sphinx that Banksy constructed out of cinderblocks and left in an empty lot in Queens. The natural tendency is to regard these people as anti-social and greedy lowlifes who are ruining Better Out Than In for those who want to appreciate it. To the documentary-makers’ credit, however, they actually interview the family who have taken possession of the Sphinx and it is fair to say that, once we hear their story, our views become a lot more nuanced. One of the most interesting scenes in the film comes when Stephan Keszler, a German art dealer with a high-end gallery in Southampton, meets with the family at their home to view the Sphinx and to negotiate to sell it on their behalf. The contrast between the world of Keszler ?who specialises in selling street art to those, like Brad Pitt and Angelina Jolie, who can afford to pay hundreds of thousands of dollars for a replica Sphinx ?and the realities faced by the family is stark indeed.

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