Christian groups object to depiction of ‘The Last Supper’ painting at Kochi Biennale

A painting by Kerala-based artist Tom Vattakuzhy exhibited at the Kochi-Muziris Biennale (KMB) as part of the show Edam has sparked controversy, with Christian and Catholic organisations alleging that it offends religious sentiments.

In a statement, Syro-Malabar Church public relations officer Tom Olikkarott said the Church viewed the artwork as a distorted portrayal of The Last Supper, which it considers a sacred symbol of Christianity, and described it as disrespectful to religious faith.

He recalled that the same artwork had been withdrawn in 2016 after protests when it was published in a magazine, and expressed suspicion that its inclusion in the current exhibition may have been deliberate. He added that the Church expected the authorities to take what it considers appropriate and responsible action. Objections have also been raised by the Kerala Latin Catholic Association, Indian Express reported.

Responding to the controversy, Vattakuzhy said he did not believe the allegations were grounded in facts and therefore chose not to comment further at this stage.

Meanwhile, the curators of Edam, K M Madhusudhanan and Aishwarya Suresh, along with Kochi-Muziris Biennale president Bose Krishnamachari, issued a joint statement defending the work. They explained that the painting was created in response to a short story by writer C Gopan and portrays Mata Hari, the convicted spy, in the moments before her execution by the French Army. They noted that Mata Hari’s identity as an exotic dancer provided the narrative context for the use of nudity in the artwork.

The statement further pointed out that Gopan’s story itself was inspired by a poem by Vailoppilli, which drew on historical events, placing the painting within a long tradition of artistic and literary interpretation that moves from history to poetry, from poetry to prose, and from prose to visual representation. Within this continuum, they argued, the work was neither isolated nor gratuitous but firmly rooted in recognised cultural practice.

While acknowledging the differences between literary and visual forms, the curators said all works in the exhibition had been carefully selected after due consideration. They added that the Kochi Biennale Foundation did not see grounds for removing the painting, arguing that doing so would amount to curbing artistic expression and could be seen as censorship, which would run counter to the values of artistic freedom and cultural dialogue that the Biennale aims to promote.

The venue displaying the artwork, however, has been temporarily shut.