- Bouteflika at bay: Why protesters are taking on Algeria’s ruling system
- Stocks trade higher as technology and consumer goods rise
- Oslo to become first city to charge electric taxis over the air
- EU summit readies for Brexit in May – or next week
- Facebook explains why its A.I. didn't detect the New Zealand mosque shooting video
Tourists kiss each other as they stand in front of a mural depicting U.S. President Donald Trump and Israel’s Prime Minister Benjamin Netanyahu kissing each other in the West Bank city of Bethlehem October 29, 2017. REUTERS/Mussa Qawasma
October 29, 2017
BETHLEHEM, West Bank (Reuters) – Another Donald Trump mural believed to be the work of Australian graffiti artist Lushsux has popped up on Israel’s barrier in the occupied West Bank, this time depicting the U.S. president sharing a kiss with Israeli Prime Minister Benjamin Netanyahu.
His face hidden by a headdress, a man who identified himself as Lushsux said against the backdrop of a cement section of the Israeli wall in Bethlehem that he hoped his painting would draw attention to Palestinians stuck in “an indoor prison”.
The Bethlehem wall has become a showcase of protest art voicing Palestinians’ fears that Israel’s West Bank fence-and-concrete barrier is a land grab that may deny them a state. Israelis deem the project a bulwark against Palestinian attack.
“The wall is a message in itself,” the man, who said he painted the mural overnight, told Reuters. “I don’t need to write ‘Free Palestine’ or something like that, something really direct … that people will ignore.
“I just paint what I usually paint and maybe people will start looking at the background and looking at the razor wire and looking at people stuck in here, and maybe that’ll work better,” he said in Australian-accented English.
Murals on the barrier believed to be the work of Lushsux include one showing Trump kissing an Israeli watchtower and another depicting him placing his hand on the barrier and thinking about building a similar wall on the U.S. border with Mexico.
(Writing by Jeffrey Heller; Editing by Catherine Evans)