Suggestive Paintings of Queer Priests and Nuns Spark Controversy in Mexico

Can Blasphemy be Art and Turn Objects of Faith into Symbols of Free Expression?

Fabián Cháirez’s latest exhibition in Mexico City has drawn the attention of religious and right-wing groups who accuse the artist of “Christianophobia.”

Reminiscent of the recent accusations on legendary  Indian contemporary artist and modernist, M. F Hussain, depicting Hindu deities, Ganesha and Hanuman in a manner that was found offensive by a particular viewer of the exhibition and considered to be controversial religious art.  Similarly, in the view of queer catholic art scandal, a Mexico City exhibition of paintings portraying sexualized and queer Christian priests and nuns has provoked a set of complaints from religious groups and right-wing figures who held protests against the exhibition for over a week outside of the museum. 

Artist Fabián Cháirez’s exhibition La venida del Señor (The coming of the Lord) opened on February 5 at the Academia de San Carlos Centro Historico, a building affiliated with the National Autonomous University of Mexico (UNAM) in Mexico City. The artist has a history of entwining sexual diversity and subversions of traditional gender roles in retellings of Mexican history and Christianity, the series of nine paintings dating from 2018 to 2023 show consecrated women and men in suggestive poses.

Speaking Truth to Power through Religious Symbols 

“It’s an exercise in which I make a comparison between religious ecstasy and sexual ecstasy, two things that would appear to be opposites but actually have more in common,” Cháirez told Hyperallergic, an art newspaper.  

Some paintings feature the nuns with their eyes shut in ecstasy, using glasses of wine or folds in robes as allusions to digital penetration, while priests are depicted performing individual or group fellatio on melting altar candles, kneeling on all fours to drink red wine from a cup, and licking Jesus Christ’s nailed feet on the crucifix, writes Hyperallergic.

The suggestive intent to cross-examine the positions of power holds deep symbolism in the ways of the artist. “I think there are other issues we should be protesting against, such as the church’s abuse of power and sexual abuses within the church,” the artist continued to elaborate to Hyperallergic.

Conflict of Interest between the Artist and the Public 

The history of artists confronting legal battles and controversies has been vast. In 2006, one of Husain’s paintings showed the figure of India naked, titled “Bharat Mata,” for which he received a storm of criticism. The painting was meant for national pride and freedom; yet, it was perceived to be an affront to Hindu sentiments. 

Incensed by the exhibition’s contents as Sacrilegious paintings controversy, the Mexican chapter of the Association of Christian Lawyers (AAC) says it filed a legal complaint against Cháirez with the National Council to Prevent Discrimination (CONAPRED), a government agency established in 2003 to promote policies for equality and resolve complaints of alleged discriminatory acts. Citing Article 24 of the Mexican Constitution, the group stated the artworks “violate the right to freely profess one’s faith without being the object of attacks,”

“There is a double standard from the public that feels offended,” Cháirez explained to Hyperallergic, adding that many of the complainants are “characters who self-define as ‘the new Mexican right-wing.’” 

Beyond the AAC’s complaints, the exhibition has faced multiple protests onsite.  Catholic protesters organized outside the Academia de San Carlos with signs that read “Blasphemy is not art” and accused the artist of bringing about “Christianophobia” in Mexico.

Another such event occurred inside the gallery on February 19 against the controversial religious art, when members of UNAM’s Catholic community staged a symbolic closure of the show with caution tape, signs, and t-shirts emblazoned with the phrase “No ofendas mi fe en nombre del arte” (“Don’t offend my faith in the name of art”) inside the exhibition space. 

Cháirez on Dealing with Criticism with Poise 

“As an artist and member of the LGBTQ community, the fact that the far right is making gains is quite uncomfortable,” Cháirez continued. “But it’s important that we reconsider our strategies to confront any violence that we might face, especially by seeking community and trying to connect with people in real life who might think differently from us and exist in other contexts — by sharing information so that others can understand difference, freedom of expression, freedom of artistic expression, and all freedoms.”

This isn’t the first time Cháirez’s artwork has drawn criticism, particularly for its LGBTQ+ content or interpretations of the paintings as such. With regards to La venida del Señor, Cháirez said that UNAM has taken some security measures for visitors and staff since the beginning of protests to avoid additional tensions with the public, “but so far there are no indications that the show will be closed, and I think that’s a very positive stance on their part.”

Feature Image Courtesy- Mexico News.