Banksy, ‘Walled Off Hotel Boxset’, 2017, Lougher Contemporary

Banksy’s Walled Off Hotel in the Palestinian territories is a continuation of the artist’s interest in the region, first ignited when he graffitied the West Bank barrier in 2004. The provocateur recently opened a gift shop to sell customized souvenirs relating to the locale and tense political situation.

This print turns a watchtower into a classic carnival ride, juxtaposing surveillance with leisure to form an arresting political commentary. From an open edition, Banksy's Walled Off Hotel boxset prints will become increasingly rare in the coming years, offering the buyer an opportunity to acquire now at a reasonable cost. Please note that these are not signed or numbered, but they do offer a new entry point to Banksy's market where pricing is currently significantly below his unsigned prints, and only marginally higher than the official offset posters (Soup Cans, Monkey Parliament and Petrol Bomb). These works have only been available to visitors to Banksy's Walled Off Hotel in Bethlehem.

High res images are available on request, please contact the gallery with any questions.

The work is accompanied by the original receipt from the Walled Off Hotel

About Banksy

Whether plastering cities with his trademark parachuting rat, painting imagined openings in the West Bank barrier in Israel, or stenciling “We’re bored of fish” above a penguins’ zoo enclosure, Banksy creates street art with an irreverent wit and an international reputation that precedes his anonymous identity. “TV has made going to the theatre seem pointless, photography has pretty much killed painting,” he says, “but graffiti has remained gloriously unspoilt by progress.” Banksy has gained his notoriety through a range of urban interventions, from modifying street signs and printing his own currency to illegally hanging his own works in institutions such as the Louvre and the Museum of Modern Art. Most often using spray paint and stencils, Banksy has crafted a signature, immediately identifiable graphic style—and a recurring cast of cops, soldiers, children, and celebrities—through which he critically examines contemporary issues of consumerism, political authority, terrorism, and the status of art and its display.

British, Bristol, United Kingdom