Banksy's new mural in Marseille is not the first image he has connected to the history of thought. From Plato to Foucault, Banks experts reveal the philosophy behind these popular artworks.

Which is the real you, the person you are now or the person you have the ability to be? It's an exciting question to be sure, and you won't face one when you wander through a street in Marseille during the fallen days of May. However, Banksy, who once asserted that he was "overrated", was secretly installed within the scope of the quiet, quiet Rue Félix Fregier, the site of a new work, the latest part of the elusive artist in a decade, a provocative prankster of philosophy.

For over 30 years, Banksy has stimulated many of his most iconic works—from his girl hopelessly reaching for heart-shaped balloons to his masked rioters, throwing a bouquet of flowers—the fable with thorns to the old masters, from Michelangilo to Monet, to Monet, Willmer, Vanmen to van gogh. But there are more. Below his hidden template, from classical sto rock to postmodern deconstructionism, a profound and intentional participation in ideological history.

On May 29, Banksy posted a photo of his first new work on Instagram for more than five months, igniting the internet interest by detaining its precise location. Shortly thereafter, murals were found in the main city of Marseille port in southern France, which at first glance seemed deceptively simple: the tall contours of the lighthouse were sprayed onto the blank beige city walls; a rusty street hole was located nearby; and painted shadows stretching across the sidewalks, combining real-world objects with two-dimensional (even two-dimensional echoes). There are thrilling words engraved on the black lighthouse: “I want to be what you see in me.”

Anyone who longs to find a source of information, the ideas that inform Banks’ new work, simply open up any philosophical history to Plato’s seminal allegory of the cave (from the fourth-century British Columbia paper, Republic) and then roll the ancient metaphor over its head. In Plato's fable, the shadows on the wrong walls of prisoners locked in a cave are realistic, unaware of the true form of throwing them out. But here Banksy is Banksy, attracting us by switching settings, reversing the relationship between essence and shadows. In Banks' murals, the monotonous Bollard's imitation of himself is not a reduction, but a grand thing-the lighthouse, a symbol of lighting and guidance. Here, this is the silhouette, not the reality, it is the fact.

Banksy's inversion urges us to ask where reality really exists: in what or possibly what? His poignant phrase - "I want to be what you see in me" - is seductively elastic. Is this Bollard dreaming more than it looks? Or is it a shadow that hopes to become bright? Or are we all (Banks included) struggling to live up to the better versions that those who believe in us imagine? The answer is certainly yes for all the above. This is a Yes There is another question: “Can this new work shed light on Banks’ further significance?” Next is a brief review of the artist’s most famous works and how they are subject to many of the most important philosophical purposes, both society and intellectuals, promise who we are and who we may be.

Banks’ new mural in Marseille is not the first title that accompanied the influence of linking articles to ideological history. In his most famous mural, there is a girl with balloons depicting a child stretching toward a heart-shaped balloon, drifting from her, first appeared in 2002, in various parts of London, including on the South Bank, and in the claim of comfort, “there is always hope.” This belief has led people to constantly strive for an ideal that seems unrealized in murals (the balloon cannot return), rhymes the thoughts of the 19th-century German philosopher Arthur Schopenhauer, an unabolition and irrational idea of ​​"irrationality and irrationality that will become the basic force" that makes them the basic force of mankind. A few years later, Banksy mischievously covered up a remotely controlled shredder with a remote-controlled shredder, a version of the balloon that was auctioned in 2018 and was sensational in the eyes of the Ghospit auction house audience, who successfully compensated for the work by making up for the futile belief of Schopenhauer's desire for Schopenhauer. Where there is a will, there is competition.

Banksy's famous masked man mural forever frozen forever before the brick or bomb was released, but a bouquet of flowers that seemed to blush to reflect the pacifist commitment to peace disobedience. This work seems to echo the precepts of Satyagraha of Mahatma Gandhi, a nonviolent philosophy created by Indian ethicists in 1919. Banksy's completely curvy figure, full of fists' beauty, seems to be manifested as Gandhi's perseverance to Gandhi as good morality, rather than physical strength, rather than physical strength. Isn't it? Or is Banks cunningly portraying the philosophical claim of the power of peace as his hero a kind of irritating mob? The attraction to higher beauty and ideals of truth does not suppress the character's anger. Instead, these ideals have been weaponized by Banksy. Here, beauty and truth are not disarmed, they are devastatingly explosive.

Banksy’s mural in Marseille adopts a tried-and-tested technique to ensure that the work we encounter reaches into the urban space, thereby elevating its philosophical potential from something fragile and flat to something undeniable urgent. This is a strategy he used in his 2007 work, which appears near Oxford Street in London, depicting a boy on an unstable high ladder spraying our piercing observations of “One Country, One Country” in the peculiar letters. The mural also depicts a unified police officer and his obedient police dog, who spy on young vandals, and above them are actual CCTV cameras, presumably recording everything, sticking out of the wall. The endless surveillance hierarchy checking hierarchy, which is proven when we watch state officers watch boys, capturing the philosophical outline of the huge and all-inclusive prison machine with amazing precision. In Foucault's study of discipline and punishment: The birth of prisons, he proposed a blueprint for prisons proposed by the British utilitarian philosopher Jeremy Bentham in the late 18th century, "panopticon" (meaning "all people)), and used it as a shocking metaphor to prevent people from escaping Panignity the Pan's eyes, an exciting metaphor.

Banksy's witty 2014 job mobile enthusiasts are shocked by the state of contemporary relationships. The mural depicts a couple whose almost affectionate embrace is interrupted by the deeper love they have for the warm light of their smartphones. French existentialist philosopher Simone de Beauvoir died in 1986 and he may not have been long enough to witness the advent of the cell phone. However, her influential 1947 book The Deal of Magiguity happened to be published 60 years ago in 2007’s iPhone release – exploring the devastating devastating nature of the destructive devastation that separation and disconnection can achieve the profound miscarriage of our modern realm in our most authentic self. de beauty insists on freedom and requires deep attention from each other. She believes in the authenticity of human encounters, and that life without such a life is a futile expression, dimly illuminated by disposable devices, rather than something profound and meaningful.

How Kelly Grovier, published by Thames & Hudson, saved Banksy's art history.