Mystery of Banksy painting journey to Tel Aviv
TEL AVIV, (AP)
A long-lost painting by the British graffiti artist Banksy has resurfaced in a swank art gallery in downtown Tel Aviv, an hour’s drive and a world away from the concrete wall in the occupied West Bank, where it was initially sprayed.
The relocation of the painting – which depicts a slingshot-toting rat and was likely intended to protest the Israel occupation –ac raises ethical questions about the removal of artwork from occupied territory and the display of such politically charged pieces in radically different settings from where they were created.
The painting initially appeared near Israel’s separation barrier in the occupied West Bank city of Bethlehem and was one of several works created in secret around 2007. They employed Banksy’s trademark absurdist and dystopian imagery to protest Israel’s decades-long occupation of territories the Palestinians want for a future state.
Now it resides at the Urban Gallery in the heart of Tel Aviv’s financial district, surrounded by glass and steel skyscrapers.
“This is the story of David and Goliath,” said Koby Abergel, an Israeli art dealer who purchased the painting, without elaborating on the analogy. He said the gallery was simply displaying the work, leaving its interpretation to others.
The Associated Press could not independently confirm the authenticity of the piece, but Abergel said the cracks and scrapes in the concrete serve as “a fingerprint” that proves it is the same piece that appears on the artist’s website.
The 70-kilometre (43-mile) journey it made from the West Bank to Tel Aviv is shrouded in secrecy. The 900-pound concrete slab would have had to pass through Israel’s serpentine barrier and at least one military checkpoint – daily features of Palestinian life and targets of Banksy’s biting satire.
Abergel, who is a partner with the Tel Aviv gallery, said he bought the concrete slab from a Palestinian associate in Bethlehem. He declined to disclose the sum he paid or identify the seller but insisted on the deal’s legality.
The piece now stands on an ornately patterned tile floor, surrounded by other contemporary art. Baruch Kashkash, the gallery’s owner, said the roughly two-square-metre block was so heavy it had to be brought inside by a crane and could barely be moved from the doorway.
The graffiti artwork was spray-painted on a concrete block that was part of an abandoned Israeli army position in Bethlehem, next to a soaring concrete section of the separation barrier.
Some time later, the painting was itself subjected to graffiti by someone who obscured the painting and scrawled “RIP Bansky Rat” on the block. Palestinian residents cut out the painting and kept it in private residences until earlier this year, Abergel said.
He said the relocation involved delicate negotiations with his Palestinian associate and careful restoration to remove the acrylic paint sprayed over Banksy’s work. The massive block was then enclosed in a steel frame so it could be lifted on to a flatbed truck and rolled through a checkpoint until it arrived in Tel Aviv in the middle of the night.
It was not possible to independently confirm his account of its journey.
The Israeli military and COGAT, the Israeli Defence Ministry body responsible for coordinating civilian affairs with the Palestinians, said they had no knowledge of the artwork or its relocation.
Banksy has created numerous artworks in the West Bank and Gaza Strip in recent years, including one depicting a girl conducting a body search on an Israeli soldier, another showing a dove wearing a flak jacket, and a masked protester hurling a bouquet of flowers. He also designed the “Walled Off Hotel” guesthouse in Bethlehem, which is filled with his artwork.
A spokesperson for Banksy did not respond to requests for comment.
This is not the first time the street artist’s work has been lifted from the West Bank. In 2008, two other paintings – “Wet Dog” and “Stop and Search” – were removed from the walls of a bus shelter and butcher shop in Bethlehem. They were eventually bought by galleries in the United States and Britain, where they were exhibited in 2011.
Abergel says it’s up to viewers to draw their own conclusions about the artwork and its implications.
“We brought it to the main street of Tel Aviv to be shown to the audience and to show his messages,” said Abergel. “He should be happy with it.”