Abstract
ABSTRACT This article examines one strand of COVID art that encodes a heteroclitic cultural imaginary – and is irregular and unsettling. Banksy’s murals and paintings parody classical artworks, and are themselves parodied, so as to capture the new cultural realities of the COVID era. In the case of other artists, such as Chiara Grilli, the traditional heliotrope is parodied to convey a similar reality, like Banksy’s inversion of the superhero mythology. With the employment of conventional disease-vector images, such as those of rats, Banksy brings into the human 5dwelling a “postnatural wilderness” showing the reversal of the disruption of ecosystems that had rendered animals habitat-less in India, with animals once again entering human spaces. Hence, the pandemic’s inversion of spatialized distribution of life can be seen as a decolonial and decolonizing moment. Subsequently, the article highlights how COVID-19 art intervenes through its parodic, kitschy quality, in the discourses around the pandemic.
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