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This paper investigates the political implications of public art using frameworks of conflict and antagonism. We introduce 'restor(y)ing' as an analytical scaling device for examining public art's potential to destabilise official planning processes and reclaim cities through acts of re-telling (restorying) and re-making (restoring) urban spaces. We probe how commissioned/formal and unsolicited/informal public art practices can concurrently operate as artistic activism – or 'artivism' – to subvert the status quo in urban contexts that encounter rising socio-spatial inequalities. We deploy restor(y)ing both as an epistemic and real-world commitment to challenging hegemonic powers, and thus amplify activist agendas of marginalised communities. Our argument demonstrates how such politics of restor(y)ing works as a device to unpack conflictual interrelations between 'æffects': affects and effects that political public art can invoke simultaneously, yet potentially unevenly. The politics of æffects reveal contestations around public art in urban planning contexts and policies, public communication, and reception. They foreground intended inclusions vs. systemic exclusions (politics of effects) and the emanating impacts on urban belonging vs. alienation (politics of affects). While much public art scholarship accentuates its alleged positive benefits, we attend to the (oft-ambiguous) negative, conflict-attuned æffects of public art. Ultimately, we advocate for an intersectional approach to restor(y)ing urban justice through public artivism. [ABSTRACT FROM AUTHOR]

Coastal cities have increasingly welcomed initiatives for producing temporary urban art spaces to lure tourists and revitalize the local economy. This article examines the under-explored contested relationships between a major temporary art event and social (dis)engagement in the context of coastal urban regeneration. During the pop-up art event Dismaland (2015), led by the reputed graffiti artist Banksy and company, the coastal resort of Weston-super-Mare in England experienced an upsurge of international visitors. Banksy envisaged this “Bemusement Park”, situated in an abandoned lido, as an antagonist twist of Disneyland and the commercial modus operandus of theme parks. Drawing on discourse analysis of expert and public perspectives and auto-ethnographic experience, this article challenges the experienced extent of antagonistic art practice in juxtaposition to the formal discourse of creators and urban policymakers. The examination of the event's artistic, behavioral, spatial and temporal frameworks shows how it ambiguously navigated between authentic and engineered trajectories of involving its target audiences. The creators' anarchist plea for radical change was ambivalently met with appreciation of an urban art space for serious contemplation as well as a perceived lack of local community investment – the latter rendering Dismaland an urban ‘art colony’ that fostered an elitist global art market rather than urban-citizen-led participation. The in-depth case study concludes that greater attention, both in urban policy and scholarship, is needed to the implications of the production of temporary urban art spaces for immediate inclusive engagement with end users as well as sustained community development. The study particularly calls for caution in assuming inclusive community benefits of art-led regeneration as abundantly ascribed in creative city theories and urban policies. [ABSTRACT FROM AUTHOR]