A look at the mural “October 7, The Hostages” before (left) and after (right) it was vandalized for a second time. Photo: Provided

Italian contemporary pop artist and activist AleXsandro Palombo spoke to The Algemeiner on Thursday about the “antisemitic hatred” that fueled the second vandalism of his mural in Milan, Italy, honoring Shiri Bibas and her two young sons – all three of whom were murdered by Hamas terrorists in the Gaza Strip after being taken as hostages from Israel.

Shiri’s face in the mural was recently covered with white paint, as was the Star of David on the Israeli flag that is draped over her two children Kfir and Ariel, who were 4 and nine months old, respectively, when taken hostage on Oct. 7, 2023, along with their mother. The mural shows Shiri, 32, holding her two sons. The three of them were kidnapped from Kibbutz Nir Oz when Hamas-led terrorists went on a deadly rampage across southern Israel, and they were later killed in captivity in Gaza.

Palombo titled the mural “October 7, The Hostages.” It is featured in the center of Milan, outside the Qatari consulate, and just a few steps from the famous Via Montenapoleone shopping area. The mural was first vandalized days after it was unveiled in October during an event commemorating the two-year anniversary of the Oct. 7 terrorist attack. French philosopher Bernard-Henri Lévy described the vandalism as “a vile gesture against the memory of the victims.”

“These works are testimonies; they carry memory and truth within them,” Palombo told The Algemeiner on Thursday following the most recent vandalism of his mural dedicated to the Bibas family. “Those who destroy them aren’t just targeting art; they’re trying to erase its meaning, its message, its resistance. It’s a deliberate act meant to extinguish what stands up to hatred, to intimidate anyone who defends freedom of thought and to rewrite history for their own advantage.” He added that stopping his art “would mean surrendering to extremism.”

“The works dedicated to the Bibas family, like all those destroyed by antisemitic hatred, must continue to live,” he said. “Every time art is silenced, the conscience of our civilization is struck. Defending artistic freedom means defending the dignity and memory of the West.”

Yarden Bibas – Shiri’s husband and the father of Ariel and Kfir — was separately kidnapped from Israel by Hamas-led terrorists on Oct. 7, 2023. He survived captivity and is the only living member of his immediate family.

Other murals by Palombo that have been dedicated to the Holocaust, antisemitism, or the deadly terrorist attack in October 2023 have all been vandalized in the past, including murals depicting Auschwitz survivors and another featuring a survivor of the Nova music festival. Even a mural created in support of Iranian women protesters was vandalized. Palombo told The Algemeiner he has received hundreds of death threats because of his artwork, mostly from “extremist online communities and radicalized pro-Palestinian movements.” He believes the vandalism of his work tied to the Holocaust, Israel, or antisemitism “is part of a deliberate strategy that uses antisemitism as a weapon to spread fear and destabilize democracies from within.”

“Today, anti-Jewish hatred is no longer just a social or cultural phenomenon; it has become a tool of hybrid warfare, employed by hostile networks to manipulate public opinion and undermine the very foundations of freedom and civil coexistence,” he added. “To attack art is to attack freedom of expression and erase collective memory. It’s a way to weaken democratic consciousness and pave the way for fanaticism. Every defaced mural is not just an attack on an artwork; it’s an assault on the right to remember.”

The only murals tied to the Holocaust and antisemitism that have not been vandalized are those displayed in Rome after being acquired by the city’s Shoah Museum. Palombo explained that they are located near a police booth and in front of a synagogue, which has a constant armed guard stationed in front.

“It’s a paradox: In a Western democracy, art must be protected like a potential target, as if memory itself had become something to be defended by law enforcement,” he told The Algemeiner.