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March 7, 2017 8:36 am

Welcome to Banksy’s ‘Walled Off Hotel’ in Bethlehem, an Anti-Israel Installation Masquerading as a Peace-Promoting Tourism Project

avatar by Reuven Berko

One of the rooms in the Walled Off hotel. Photo: Designboom.

One of the rooms in the Walled Off hotel. Photo: Designboom.

The Left’s widely publicized campaign about the launch of the boutique Colonial Hotel in Bethlehem recalls the lyrics to The Eagles’ surrealist song “Hotel California,” which describes a hotel where there is room for any insane guest.

In the context of the Middle Eastern bloodbath, the millionaire graffiti artist Banksy is characterizing his crazy Walled Off Hotel in Bethlehem as “overlooking the worst view in the world.” In a display in his hotel, the activist artist portrays the lives of the Jews and the security fence that protects them as a “bad view” of the despicable occupation, and Israel as one of England’s mistakes (referring to the Balfour Declaration). The hotel masquerades as a tourism project to promote Palestinian artists and encourage dialogue between Palestinians and Israelis who are represented on one wall as a soldier and a terrorist engaged in a pillow fight.

If only. Banksy (who has never revealed his true identity) is calling for courage, but is protesting anonymously. His people explain on Facebook that he has taken the “loaded” view and turned the hotel into an “installation” against the occupation. They explain that the artistic boutique hotel creates a different reality through melting walls, courage and wisdom, creating change and making art. What lofty intellectual expressions to describe an anonymous antisemitic coward who refuses to identify himself or appear in the media, who came here from England to operate against Jews.

But whoever “courageously” leaves the building and looks at the bizarre hotel that was built in a strip of Israeli-controlled territory realizes that the hypocritical developer mostly wanted security. If Banksy looked out from his hotel at Bethlehem itself, he would see a particularly ugly view: the ghosts of a large Christian community that was wiped out by Bedouin rapists and Islamists from Hebron who stole the Christian bodies, souls, and property.

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If Banksy had wanted to gaze at an ugly view, he’d look at the glass facade of the Park Hotel in Netanya, where he can envision the bodies of the Jews murdered by a Palestinian suicide bomber while celebrating Passover there, when there was still no fence. Banksy might call the blood spilled on the walls and the floor “psychedelic conceptual art in a hotel of occupation.” He hasn’t shown his face there.

Since Operation Defensive Shield in the spring of 2002, the security fence has separated Palestinians with their terrorism and death lust from the flourishing, life-embracing Israelis, who, for Banksy, represent an “ugly view.” Banksy is trying to attach the stigma of apartheid and racism to Israel, tear down the wall, and make it easier for the Palestinians to carry out killing and murder sprees against the “apartheid” state. Elton John performed remotely at the hotel’s opening, but perhaps Pink Floyd’s antisemitic Roger Waters is a better fit.

This article first appeared in Israel Hayom.

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