The renowned Portuguese street artist Bordalo II has stormed into a venue in Lisbon where Pope Francis is due to hold mass in the coming week, unveiling a vast carpet composed of supersized banknotes. This act is a direct critique of the substantial sum that the state has invested in this event.
Pope Francis is set to visit Lisbon from August 2nd to August 6th for the global gathering of young Catholics, known as World Youth Day. This event is expected to draw hundreds of thousands of pilgrims worldwide.
Bordalo II, who has built a reputation for his politically provocative art pieces frequently crafted from waste material, shared photos and videos of the colossal 500-euro ($551) note carpet being unfurled down the venue’s stairways on Thursday. The artist labelled this protest as the “walk of shame.”
“In a time where countless individuals are battling to retain their homes, their jobs, and their dignity, vast amounts of public funds have been used to finance the papal visit,” Artur Bordalo, known in the art world as Bordalo II, commented on Instagram.
Initial estimations from January reported that the event would cost 161 million euros ($177 million). This expense is set to be covered by the government, the Catholic Church, and the city councils of Lisbon and nearby Loures.
Several influential individuals and political figures have criticized the Portuguese government for the 30 million euros ($33 million) they are contributing, as recorded in January, particularly when many Portuguese citizens are contending with skyrocketing inflation.
Earlier this year, intense criticism led the Lisbon city council to reduce the proposed expenditure on an altar for Pope Francis’ mass from over 5 million euros ($5.5 million) to 2.9 million euros ($3.2 million).
In response to Bordalo II’s carpet protest, Lisbon Mayor Carlos Moedas stated to the media that the artist used his platform to voice his concerns and that such demonstrations are commonplace for these events.
Bordalo II’s public demonstration continues to ignite conversations around fiscal responsibility, the role of religious events in state affairs, and the importance of addressing economic issues impacting ordinary citizens. The artist’s usage of his unique medium to voice socio-political concerns highlights the intersection of art and activism. As the world continues to watch the developments in Lisbon, the debate on public spending for religious occasions is likely to continue.
