A decade ago, the gates of Dismaland opened for the first time, welcoming over 150,000 visitors during its five-week run. This groundbreaking exhibit was constructed on the site of Weston-super-Mare's abandoned Tropicana lido, a place the anonymous Bristol street artist Banksy had visited during his childhood. The subversive tourist attraction was designed as a 'bemusement park,' offering a dark satirical twist on traditional mainstream resorts.
The dystopian art installation featured commentary on pressing global issues including climate change, consumerism, war, surveillance, and the ongoing refugee crisis. For many visitors, these powerful social commentaries remain equally relevant and poignant today. Local residents have shared their most memorable experiences from the exhibit while reflecting on the lasting impact it left on the North Somerset seaside town.
Dismaland showcased a collection of works by Banksy alongside 58 other international artists. In 2015, Charlie Goodhind, who studied art, frantically refreshed her computer screen trying to secure tickets to the highly anticipated event. However, nothing could have prepared her for the 'haunting' experience that awaited visitors inside.
'Each piece had a different meaning, but when you put them all together, it says a lot about society in general and how the world is changing,' Goodhind explained. 'A lot of people would find some of the things we saw quite shocking, but I think sometimes shock is needed to get the message across. There is always a darker side to the things you enjoy, and I think Dismaland opened up those conversations.'
Goodhind described the interactive installations as both 'powerful' and 'thought-provoking,' including a coin-operated boat filled with migrants that served as commentary on the European refugee crisis, and a hook-a-duck game played in a vat of crude oil. 'If you're standing in front of a painting, it's very flat. You are the observer,' she noted. 'But interacting with art makes you connect with it. It makes you feel like you play a part in this. You can change this.'
Mark Hills initially had low expectations for an event that described itself as dismal, but his curiosity about the 'mysterious Banksy' drew him in. Upon entering, visitors were searched by fake security guards using cardboard equipment and handed balloons reading 'I am an imbecile.' Hills recalled, 'The whole thing was like "what have we come to?" Everything was so run down and depressing, but it was amazing. The staff were awful, everybody was angry and mean to you. It's the opposite of what you normally pay for.'
Hills spent hours exploring the abandoned leisure park, examining 'every nook and cranny' for bleak social commentary. One installation that particularly stood out featured an overturned carriage where Cinderella's lifeless figure lay flung from the window, with paparazzi preying on her downfall—widely believed to represent the media's intrusive exploitation of Princess Diana's death. 'That was definitely the piece that stood out the most to me. It had an eerie feeling about it,' Hills remembered.
According to Hills, Dismaland paved the way for challenging societal norms by creating a unique space where daunting concepts became almost ridiculous. 'A lot of people have the same opinion as Banksy when it comes to his politics,' he observed. 'I just think people are too afraid to speak up, because you're the one seen in the wrong.'
Kurtis Young was 21 years old when he unknowingly signed up to become a Dismaland steward. 'At the time I was just out of college and didn't have a job. I saw an advertisement in the local paper for movie extra roles and runners,' he explained. 'It didn't say exactly what it was, it was all very secretive, but I thought "that sounds fun."'
The unsuspecting volunteers underwent three days of intensive training, including facial movement exercises and acting lessons focused on staying miserable and unpleasant. Rumors began circulating that the elusive street artist was involved after someone recognized his manager's name on a non-disclosure form. 'It was all a bit confusing. A lot of people dropped out because they thought "what are we even doing?" We didn't find out officially until we got to the location,' Young recalled.
Young spent the next five weeks 'causing chaos' and 'being mischievous'—kicking over children's sandcastles and cheating at fairground games. Staff members were specifically trained to be surly, incompetent, and irritable to create an authentic dystopian experience. 'There was a lot of pushing boundaries. Never maliciously, but just to create an interactive experience,' he explained. Young described the job as a once-in-a-lifetime opportunity, saying, 'It was such a fun chapter of my life, it's a shame it was so short. But if it were to happen again I don't think it would have the same impact. It would almost defeat the point, by becoming too commercial.'
The exhibit featured various installations that commented on contemporary issues, including a traditional fairground carousel that served as commentary on Britain's horse-meat scandal at the time, and displays thought to remark on the conditions animals are kept in at aquatic theme parks. These provocative artworks challenged visitors to confront uncomfortable truths about modern society.
North Somerset Council confirmed there are currently no plans for Dismaland 2 on the horizon, but acknowledged that the original event helped 'shine a spotlight' on the Tropicana's potential. The installation was estimated to have generated a $20 million boost to the local economy, with shops, hotels, and businesses experiencing a significant surge in trade during its run.
The local authority is currently in the process of leasing the historic Tropicana site to an experienced venue operator for long-term use and plans to make an official announcement in the coming months. Councillor Mike Solomon, cabinet member for culture, leisure and open spaces, stated, 'This will create new jobs, support local businesses and deliver a year-round experience-led economy for the future. We want to attract higher profile acts, culture and entertainment events to elevate Weston's place within the regional, national and international scene.'
The legacy of Dismaland continues to influence contemporary art and social discourse, demonstrating how interactive art installations can effectively challenge audiences to confront difficult societal issues. The temporary exhibition proved that art can serve as a powerful catalyst for important conversations about the world we live in, making complex global problems more accessible through creative interpretation and dark humor.
