A Trip to Bethlehem, Also… BANKSY

June 20th, 2017 | By | 1 Comment »

As just about anyone reading Vandalog will know, Banksy has opened up a hotel in Bethlehem, Palestine. The Walled Off Hotel has “the worst view of any hotel in the world,” with rooms looking out onto the illegal separation wall that Israel has built in the West Bank.

When the project was first announced, I was eager to hop on the first flight available and spend a week in Palestine. After all, when Banksy says to show up somewhere, it’s a good idea to show up. But I was reminded that perhaps it was a bit silly to visit Bethlehem just because Banksy’s got some art up there. That was a fair point, and then a dozen other real-life considerations started to make the whole thing feel impractical. So, on a personal level, perhaps I’m living on a boring life and I’d just rather pay my rent on time than have a once-in-a-lifetime experience.

But on a broader level: That’s the whole question of the hotel, right? Should someone travel half way around the world to see a Banksy installation in Palestine? To what extent is going to The Walled Off Hotel “slum tourism” or its opposite (is there a phrase for visiting a country or a neighborhood for the sake of visiting a tourist attraction instead of experiencing the everyday of the place, like flying to the gated-off Mar-a-Lago and saying you’ve seen Palm Beach)? Is Banksy exploiting a situation or helping the local economy and bringing press attention to an under-reported and deeply-worrying situation?

I’m tempted to lean in Banksy’s favor here. He’s not an idiot. He knows that, as he’s done before, working in Palestine will give press attention to the situation there. He knows that people will fly to wherever he puts on a project (as I’ve done before). And, as is the case with so much of Banksy’s work, the question then becomes how the audiences reacts, and that’s largely on them. Which is why it was so encouraging when I saw a “review” of The Wall Off Hotel by my friend Doug from Fifth Wall TV. Check it out:

Well Doug, I couldn’t have said it better myself. I think that’s the way to experience The Walled Off Hotel. Actually, now you’ve made me want to visit again…

Photo courtesy of The Walled Off Hotel


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  • Mr. William Lashley

    I would like to comment on this by way of two photographs of murals that seem to me to be obviously by the same artist. One of these appears in the Fifth Wall TV video at around 5:00 in. Here is the first photo, posted by my friend Franke four days ago while visiting the Aida Palestinian refugee community. She is a professor of Political Science at Montana State University, the former chair of the Montana Human Rights Commission and a former Democratic party State Representative. She is in Israel/Palestine now where she “came to study nonviolent resistance/peace movements that work with both sides.”
    The second photo is simply identified online as being a shot of a mural in the “West Bank” but it is so similar that I can’t imagine it isn’t by the same artist that created the art in Franke’s photo. Can anyone identify the artist? More to the point, why is that information seemingly less important than identifying Blu’s work?
    While the video questions whether “another video ” or “another artist coming and making a big statement” is what people want, there is image after image that is anonymous (at least to me). My question is why? I went to Shankill Road in Belfast years ago and saw the Ulster Defence Force & UVF & IRA and Sinn Fein murals. They were all signed and even muralists on different sides of the political divide recognised each others work. Isn’t there a value in trying to understand these works as individual statements as well as ideological symbols? To me it humanises the struggle. So maybe what the people going to Banksy’s Walled Off Hotel might consider doing is taking a closer look at the human stories that surround the art created before Banksy, Blu etc got there or created independently of such collectable and curated artisits, and the “why” and “how” of its creation. I am not encouraging a “turf war”or getting into the questions of authenticity. I am really concerned about how the audience receives the work, not jut the relative status of the artists themselves, and how people form a conceptual gestalt from the representations.

    https://uploads.disquscdn.com/images/8fbd9295a5cbce19a5360acfa21d7bb7b904e19b61126f10f1c2a1a4edae89b3.jpg https://uploads.disquscdn.com/images/863f1af7ea8f6461cf09cc0f8ce44d61660f82c120f98b157eae7ad561757891.jpg