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Hamas victim memorial featuring Shiri Bibas and sons targeted by vandals in Milan, Italy

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A memorial mural dedicated to Shiri Bibas and her two young sons, Ariel, 4, and Kfir, 10 months, who were kidnapped and brutally killed by Hamas terrorists while in captivity, was vandalized earlier this month during a memorial service for the victims of the attacks on Oct. 7, 2023.
The artwork was created by contemporary pop artist and activist AleXsandro Palombo, known for his thought-provoking installations, including a visual of the deceased former pontiff, Pope Francis, holding a buoy, with the body of a drowned Syrian toddler, 3-year-old Aylan Kurdi, who died in 2015 while fleeing the Middle East, lying at his feet.
The Bibas family mural was installed in Milan, Italy, outside the Qatari consulate.
PRO-ISRAEL INFLUENCER SAYS BIBAS MEMORIAL IN NYC ‘BROUGHT OUT THE WORST’ IN ANTISEMITES
Contemporary artist AleXsandro Palombo told Fox News Digital he dedicated the mural to Shiri Bibas and her two young sons to defend Western values which he says are under threat. (AleXsandro Palombo)
«The fact that a mural dedicated to a mother and her two children who were murdered can be defaced without provoking public outrage is the symptom of a sick society and a sign of political and cultural weakness,» Palombo told Fox News Digital.
«In recent years, parts of the political left and activist movements have ended up legitimizing extremist pro-Palestinian factions that don’t speak of peace, but of hatred. They don’t defend the rights of Palestinians, they exploit them, effectively promoting the propaganda of Hamas’s throat-cutters.»
The face of Shiri was obscured by an image originally crafted by Vancouver street artist iHeart, depicting a boy addicted to digital feedback and crying over Instagram likes.
BODY OF ISRAELI HOSTAGE WHO WAS HELD FOR NEARLY 700 DAYS IN GAZA IS RECOVERED

The mural of Shiri Bibas and her two young sons in Milan, Italy, by contemporary artists and activist AleXsandro Palombo was defaced during a memorial service for the victims of the attacks on Oct. 7, 2023. (AleXsandro Palombo)
Creative modifications were made, including a red bullseye stamped on the boy’s forehead, with the words «No War» displayed beneath the image.
The Stanley Park artwork gained viral attention in 2014 after catching the eye of the elusive artist Banksy.
Palombo decreed the violation of the Bibas family memorial «not an act of protest, but a serious desecration.»
«This is not a dialogue between works of art, but a deliberate act of erasure,» he said. «That face was not chosen to add meaning, but to obscure it. It is an attempt to replace a specific, painful and documented memory with a generic, emotional image that mocks and lends itself easily to manipulation. It is a way of stripping suffering of its significance, turning it into an ideological mask.»
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The identity of the person who defaced Shiri’s image remains unknown. However, Palombo said that Islamic fundamentalism is gaining followers, even in Milan, a city he believes should symbolize «openness, democracy and civic awareness.»
Palombo also asserts that antisemitism was a factor in the defacement.
«The message is not ambiguous, it’s an antisemitic act disguised as activism, exploiting aesthetics to channel a form of cultural radicalization,» Palombo told Fox News Digital.
«It’s not about expressing an opinion, it’s about undermining memory, attacking its public space, normalizing hatred through visual gestures. Antisemitism today doesn’t march, it seeps in. It disguises itself as debate, appropriates shared languages, infiltrates art to silence other voices. And when freedom of expression is used to deny that of others, it’s no longer freedom, it’s a strategy of destabilization.»
REMAINS OF SHIRI BIBAS POSITIVELY IDENTIFIED AFTER EVENTUALLY BEING HANDED OVER BY HAMAS

This undated photo provided by Hostages Family Forum shows Shiri Bibas, who was abducted and brought to Gaza on Oct. 7, 2023. (Hostages Family Forum via AP)
The defacement of the Bibas family mural is not the first of Palombo’s work to be disrespected.
In 2024, just hours after unveiling a mural dedicated to Nova Festival survivor Vlada Patapov, the artwork was damaged.
Palombo’s murals dedicated to Auschwitz survivor Sami Modiano, Italian Holocaust survivor Liliana Segre and Hungarian-born Holocaust survivor Edith Bruck have also been vandalized in the past.
«My art is not decoration, it is testimony,» Palombo said. «Anyone who thinks they can erase it with a spray can or a threat has already lost.»
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Although Palombo is not Jewish, he told Fox News Digital that he has been inundated with antisemitic insults daily, along with receiving death threats over the past three years.
«The risk of vandalism is real, but it’s not a deterrent, it’s part of the battlefield of memory,» he said. «Balancing the need to honor the victims with the challenges of public art means accepting that every work is also a stronghold, an act of visual resistance. And if someone defaces it, they don’t weaken it: they make it even more necessary.»
anti semitism,vandalism,israel,italy,middle east
INTERNACIONAL
Mullin’s confirmation survives key test vote as DHS remains shutdown

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Sen. Markwayne Mullin, R-Okla., survived a key test vote on Sunday on his way to becoming the next Homeland Security chief.
Mullin, who was tapped by President Donald Trump to be the next Department of Homeland Security secretary, still has one more vote to go, and likely won’t be confirmed until Monday evening.
Should he survive the final confirmation vote on Monday, he will replace DHS Secretary Kristi Noem, who Trump fired following explosive hearings on the Hill and after the deaths of Renee Nicole Good and Alex Pretti during immigration operations in Minnesota.
SCHUMER GAMBIT FAILS AS DHS SHUTDOWN HITS 36 DAYS AND AIRPORT LINES GROW
Sen. Markwayne Mullin speaks to reporters on the Capitol steps in Washington, D.C. (Tom Williams/Getty Images)
Sunday’s test vote, which was largely party-line save for Sen. John Fetterman, D-Pa., who was the key vote to move his colleague out of committee earlier in the week, comes after his explosive confirmation hearing earlier in the week.
Mullin was grilled by both Democrats and Sen. Rand Paul, R-Ky., who Mullin once called a «snake» and charged that his 2017 assault was «justified.» During the hearing, Mullin didn’t back down from his prior remarks.
«I’m not perfect. I don’t claim to be perfect,» Mullin said. «I make mistakes just like anybody else. But mistakes, if you own them, you can learn from them and you can move ahead. And I’ll make that commitment to you.»
GOP SENATOR’S GAMBIT EXPOSES FALSE DEM CLAIMS ABOUT SUPPORTING VOTER ID

Senator Rand Paul, a Republican from Kentucky, during a Senate Health, Education, Labor, and Pensions Committee hearing in Washington, DC, US, on Wednesday, June 25, 2025. (Eric Lee/Bloomberg via Getty Images)
If successful on Monday, Mullin will take the reins of an agency that is currently shut down. Senate Democrats, led by Senate Minority Leader Chuck Schumer, D-N.Y., have blocked DHS funding five times in their quest to get stringent reforms to Immigration and Customs Enforcement (ICE).
Mullin appeared amicable to making changes at the agency during his hearing.
Congressional Democrats have demanded, among other things, that ICE agents get judicial warrants to enter a home or business in the field rather than administrative warrants. And when asked by Sen. Richard Blumenthal, D-Conn., whether he would commit to requiring judicial warrants for ICE agents to search homes and businesses, Mullin appeared to give ground to the demand.
«Judicial warrants will be used to go into houses, into place of businesses, unless we’re pursuing someone that enters in that place,» Mullin said. «I have not mixed words with that, and I haven’t changed my opinion about that.»
Meanwhile, what was a shutdown stalemate thawed over earlier this week, when Senate Democrats made a counter offer of DHS demands to the White House after over two weeks of radio silence.
MULLIN FACES DEMOCRAT GRILLING IN FIRST HURDLE TO LEAD DHS AMID SHUTDOWN FIGHT

Homeland Security Secretary Kristi Noem appears for an oversight hearing before the Senate Judiciary Committee, at the Capitol in Washington, Tuesday, March 3, 2026. (J. Scott Applewhite/AP Photo)
That spurred back-to-back meetings on the Hill, with Sens. Susan Collins, R-Maine, and Katie Britt, R-Ala., along with border czar Tom Homan, sitting down with a cohort of Senate Democrats. A third meeting was slated for Saturday, but was canceled at the last minute.
The shutdown is currently on its way to becoming the longest in history, unless either side can lock in a deal to fund the agency. Mullin’s nomination to lead DHS has so far not swayed Senate Democrats, either, despite their demands the Noem be booted.
Whether both sides meet again over the weekend remains in the air.
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Senate Majority Leader John Thune, R-S.D., accused Senate Democrats of believing that the shutdown «politically good for them.»
«It’s not politically good for anybody to have literally tens of thousands and hundreds of thousands of people out of work and important functions of our government not being carried out on a daily basis and functions that are important to our homeland security and our national security,» Thune said.
politics,senate,homeland security,donald trump,government shutdown
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INTERNACIONAL
La pintura que nadie esperaba: así fue el increíble redescubrimiento de John Constable en el corazón de Texas

Un nuevo capítulo en la historia del arte británico surgió en el este de Texas, donde una obra atribuida a John Constable —referente del paisaje romántico inglés— fue identificada como un hallazgo insospechado con consecuencias para la comprensión de su proceso creativo.
La pintura, un estudio al óleo de gran escala relacionado con The Cornfield (1826), será la pieza principal en la subasta de arte europeo de la casa Heritage en Dallas este 5 de junio, tras un proceso de atribución que desafió lo sabido sobre el autor y reunió a especialistas ante un enigma de procedencia aún sin resolver.
Una característica distintiva de este hallazgo, nunca registrada en versiones previas de la misma escena, es su tamaño: el estudio mide 140 por 122 centímetros, convirtiéndose en el mayor de los bocetos conocidos para The Cornfield.
Según declaró Marianne Berardi, codirectora de arte europeo en Heritage Auction al medio ARTnews, la obra permaneció décadas en la colección de la Jefferson Historical Society and Museum tras ser donada en los años 1960 por la neoyorquina Newhouse Galleries, con el objetivo de fortalecer esa institución cultural. Solamente en 2017, durante una visita de revisión de patrimonio que gestionó Heritage, surgió la sospecha de que se trataba de una obra auténtica, no una copia más entre las 85 registradas, basadas en la laguna de Fen, en Suffolk.

El estudio, restaurado cuidadosamente e investigado a fondo entre 2023 y 2024, fue sometido a múltiples análisis técnicos —desde pruebas de limpieza hasta reflectografía infrarroja y análisis de pigmentos—. Todos los exámenes confirmaron “consistencia total con los materiales y métodos de trabajo de Constable”, lo que contradijo el consenso anterior entre expertos y abrió nuevas incógnitas sobre la evolución de la célebre pintura terminada, la primera del artista admitida en la National Gallery de Londres en 1837.
La autentificación introdujo elementos inéditos en el relato historiográfico de John Constable. De acuerdo con la restauradora Sarah Cove, versiones previas sostenían que Constable pasaba directamente de pequeños bocetos a la obra final. “Desde el redescubrimiento del boceto a tamaño real, sabemos que eso es incorrecto”, afirmó Cove, quien determinó que el autor ejecutó la composición en una única sesión y, en una segunda etapa, la retocó siguiendo una lógica de revisión más madura, evidenciando un proceso analítico visible y documentable sobre la propia superficie.
Las investigaciones de Anne Lyles, historiadora del arte y experta en Constable, apuntaron a una fecha de ejecución en torno a 1820, basada en el imprimado de la tela. Cove sumó que la intervención principal podría situarse poco después de 1825, en un contexto de experimentaciones simultáneas con la composición The Leaping Horse. “El manejo es tan parecido que sugiere que pudo ocurrir a inicios de 1826, en paralelo al trabajo sobre el boceto a tamaño real para The Cornfield”, sostuvo Cove.

La recurrencia con la que resurgen obras desconocidas de Constable se explica por la extraordinaria cantidad que produjo a lo largo de su carrera, motivado en parte por lo que el mismo artista reconocía como una memoria visual limitada. Los estudios, entonces, se convirtieron en sus equivalentes a la fotografía: modelos de referencia concebidos con una libertad y rapidez que anticipaban la estética impresionista décadas antes de su formulación. Estos trabajos permanecieron, en buena medida, fuera del radar del público hasta la subasta del estudio Foster and Co., un año después de la muerte del pintor en 1837.
A partir de 1816 y luego de su matrimonio, Constable amplió el formato de sus composiciones para hacerlas más atractivas comercialmente y para optimizar el tiempo de ejecución. La obra ahora identificada permite reconstruir cómo la exploración en gran escala fue un paso intermedio crucial entre los bocetos reducidos y el lienzo definitivo, integrando casi todos los elementos presentes en la versión final exhibida en la National Gallery, salvo algunos detalles menores.
La procedencia del estudio aún plantea dudas. Existen registros de ventas históricas que mencionan una “estudio de la naturaleza para The Corn Field, para el cuadro de la National Gallery”. Para Sarah Cove, la pintura recién estudiada desplaza como candidata legítima a la versión hasta ahora conservada en los Newfields de Indianápolis. Anne Lyles, en cambio, mantiene reservas sobre la atribución.
La obra será expuesta antes de la subasta en el espacio londinense de Heritage Auctions entre el 27 de marzo y el 2 de abril. Este recorrido internacional marca un nuevo ciclo para una pieza que permaneció más de medio siglo en relativo anonimato y que, ahora, redefine el conocimiento sobre las estrategias creativas de un pilar del romanticismo inglés.
Pintura,arte,paisaje,National Gallery,óleo,rural,naturaleza,campo,galería,exposición
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