Bansky: Limitless exhibition

A timeline at the start of the Banksy Limitless immersive experience

This is the second of my blog posts about last month’s trip to London. The first was about Kinky Boots, and this is about the Banksy: Limitless exhibition which was the other thing that we pre-booked before travelling.

You’ve probably heard of the pseudonymous street artist Banksy. This exhibition is an ‘immersive experience’ which has around 250 of his artworks on display. These are a mixture of prints and recreations of his works, and include those displayed at Dismaland, the Walled Off Hotel, Ukraine and his London animal trail.

I’m not massively into art, but I find Banksy interesting – not least because his true identity remains a mystery to most. All most people know about him is that he is male, white, and that he probably comes from Bristol where his earlier works appeared. He has been producing street art since at least 1999, if not earlier.

He’s probably best known for his stencilled street art. Stencils allow him to design his pieces in his studio; then, when he’s out in a public place, he can then quickly spray paint his works and move on before he gets in trouble. However, his art takes many forms and this exhibition covers lots of them.

Immersive experience

Banksy: Limitless is billed as an ‘immersive experience’, which made me think about that infamous Willy Wonka experience in Glasgow. Thankfully, it’s not a load of AI generated slop. Instead, whilst some parts are like a typical art gallery, others parts are laid out like a tube station, or a recreation of Dismaland. The web site says that you can expect to spend at least 80 minutes here; we spent well over two hours in the end. And, of course, you Exit Through the Gift Shop.

It’s important to note that Banksy himself hasn’t authorised this exhibition. Instead, it’s a collection of (mostly) privately owned pieces and prints that have been brought together. I really enjoyed it.

Accessibility

Banksy: Limitless is in Sussex Mansions on Old Brompton Road. It’s a short walk from South Kensington tube station on the Piccadilly, Circle and District Lines. The nearest step-free tube station is Knightsbridge, the previous stop on the Piccadilly line, which is a one mile walk.

The building is wheelchair accessible. The exhibition is across two floors, and there is a lift available. There are also toilets on site. The nearest Changing Places toilets are at the Science Museum, and the Royal Brompton Hospital, which are both a short distance away. Strobe lighting is used in the exhibition, and there is also an optional section towards the end that people with motion sickness are advised to avoid.

Ticket prices start at £20 each; Google’s AI summary offered me the discount code LONDONBY10 which gave me a 10% discount. Tickets are handled by Fever who we also used for The Art of the Brick, and you can earn points from your booking to use against future bookings (although this can’t be combined with discount codes).

Kate Lycett’s Lost Houses

Bankfield Museum

Running a stately home is a lot of work – you only have to watch shows like Downton Abbey to see why. (note: I have never watched Downton Abbey.) Organisations like The National Trust spend millions every year to keep their properties going. Not all houses are lucky enough to have someone maintain them and some have fallen into disrepair or been demolished.

With this in mind, artist Kate Lycett has painted a series of pieces called the Lost Houses of the South Pennines, which has gone on display in Halifax’s Bankfield Museum. All of the paintings are of houses and stately homes in Yorkshire which are no longer standing, such as Manor Heath in Halifax (now Manor Heath Park) or Horton Hall near Bradford.

What makes Kate’s paintings stand out is her attention to detail. All of the paintings show the houses as if they were still in their heydays – lights on, and with an almost ethereal glow, giving them life again. Gold leaf has been woven in to good effect.

Alongside each piece is a description of the house – who built it, what it was used for, and its ultimate fate. Photographs are also provided, as are Kate’s scrapbooks that she used during her research. Ironically for an exhibition at a Calderdale Council venue, many of those houses were demolished by its predecessor organisations. Dry rot seemed to be a major problem in several properties but I think money (or the lack thereof) has been the major factor in most of the houses’ demise.

We’ve visited twice – Christine and I were lucky to be invited to the opening night by a mutual friend of the artist, but we also popped in with my parents at the weekend. It looks like it’s been pleasingly popular.

All of the paintings are for sale by sealed auction bid, but you can also purchase limited numbered edition prints that are signed by the artist. These include the gold leaf that the originals have. The exhibition runs until early April, and is free to visit.

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