Specters of the muselmann

Guantánamo Bay penalogical Theme Park and the torture of Omar Khadr

Joseph Pugliese*

*Corresponding author for this work

Research output: Chapter in Book/Report/Conference proceedingChapter

Abstract

On September 8, 2006, the guerrilla artist Banksy staged another of his politico-artistic interventions, installing an inflatable doll dressed as a Guantánamo Bay detainee on the grounds of Disneyland, in Anaheim, California. Banksy has achieved international fame as both a street and a guerrilla artist. His graffiti projects have commented on everything from the Iraq war to the wall built by Israel on Palestinian land. He has also, as guerrilla artist, made significant interventions that have called into question the cultural politics of museums and art galleries by clandestinely installing "fake" paintings and pseudo-archaeological artifacts that have often remained on gallery walls for days before being discovered by museum staff.1 Banksy's work consistently brings into focus the often effaced or naturalized relations of power and violence that underpin "legitimate" social sites and established cultural practices.

Original languageEnglish
Title of host publicationTorture
Subtitle of host publicationpower, democracy, and the human body /
EditorsShampa Biswas, Zahi Zalloua
Place of PublicationSeattle, US
PublisherUniversity of Washington Press
Pages158-187
Number of pages30
ISBN (Print)9780295991221
Publication statusPublished - 2011

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  • Cite this

    Pugliese, J. (2011). Specters of the muselmann: Guantánamo Bay penalogical Theme Park and the torture of Omar Khadr. In S. Biswas, & Z. Zalloua (Eds.), Torture: power, democracy, and the human body / (pp. 158-187). Seattle, US: University of Washington Press.