In a move that signals the Kochi-Muziris Biennale kowtowing to sectarian pressures, the Edam exhibition venue reopened on January 5 without Tom Vattakuzhy’s controversial painting—Supper at a Nunnery. The work, a reimagining of The Last Supper featuring women, was withdrawn following protests by Christian groups who labelled it offensive.
The artwork was made for an exhibition called Edam, which had to be closed down last week after certain Christian groups protested, saying the painting was offensive. However, on January 5, a press statement was released, announcing the reopening of Edam, without Tom’s painting.
After a meeting chaired by the Sub Collector of Ernakulam, “the curator of Edam and the artist concerned have decided to withdraw the painting from the exhibition, respecting public sentiments and in the interest of the common good,” said the statement. It further added that the Kochi Biennale Foundation, “which has always stood for artistic and curatorial freedom, respects their decision.”
V Venu, chairperson of the Kochi Biennale Foundation, told TNM that the decision was left to the curator and the artist.
Artist Tom Vattakuzhy said that the exhibition was a curated show presented as part of the Biennale. He added that he had already explained his position and perspective on the work when objections were raised and that he has nothing further to add.
The painting is an accompaniment to a play written by C Gopan and provides context to the artwork.
Gopan’s play Mridvangiyude Durmruthyu was about Dutch dancer Mata Hari, in whom Tom found a semblance of Christ. She was killed on suspicion of being a German spy during the First World War and Tom empathised with her because, he said, that was what Christian values of love, care and sympathy had taught him.
Both the play and Tom’s illustration first appeared in Malayala Manorama’s literary magazine Bhashaposhini in 2016. There was similar outrage at the time, after which the magazine issue was taken out of circulation and Malayala Manorama carried an apology on the front page of the newspaper.
After the years that passed, during which a statement of understanding was released by Christian theologists, Tom had not expected another controversy to break out over his painting in 2025.
Artist and one of the curators of Edam Aishwarya Suresh told TNM that the decision to withdraw Tom’s painting has been a difficult and deeply considered one. “His practice is an integral part of Kerala’s cultural and literary history, and the works shown at Edam were carefully selected from decades of narrative paintings and illustrations that engage with storytelling, history, and visual tradition. The work that has drawn objections was presented within a clear artistic and historical context, grounded in a long continuum of literary and visual interpretation rather than any intent to provoke or offend,” she said.
She further added that the withdrawal should not be read as a judgement on the artistic value or integrity of the work. “The decision has been made in response to the present circumstances, while continuing to respect the core values of artistic freedom and expression that guide my curatorial approach. As an artist myself, I believe strongly in the importance of allowing art to exist within its cultural and narrative frameworks, even when it invites discomfort or debate, and I remain committed to those principles.”
Prominent cultural figure and writer K Satchidanandan also decried the protest as unwarranted. “The protestors never tried to understand that work as art and the artist's intentions, but I cannot blame the [Biennale] organisers, as it is their duty to protect that piece of art and keeping it there might be risky unless an army is deployed there,” he said.
The removal of the artwork comes close on the heels of cancelled screenings at the International Film Festival of Kerala (IFFK) last month. Following the Union government’s refusal to grant censor exemption to 19 films, the state had initially taken a strong stand and fought back, which resulted in the approval of 13 films. However, the government of Kerala finally gave in and did not screen the six films that the Union government continued to object to.
