A controversial painting titled Supper at a Nunnery has been removed from a parallel exhibition at the Kochi-Muziris Biennale following protests from Christian groups in Kerala, India. The artwork by Indian artist Tom Vattakuzhy depicts Dutch exotic dancer Mata Hari seated nude at the center of a table surrounded by nuns, echoing the composition of Leonardo da Vinci's The Last Supper. The exhibition venue was temporarily closed on December 30 after church organizations demanded the painting's removal. Following meetings with local officials, the Kochi Biennale Foundation announced that the artist and curators had jointly decided to withdraw the work, respecting public sentiments and in the interest of the common good. The space reopened on January 5 without the painting, which had been displayed as part of Edam, a showcase of 36 artists from Kerala.
Tom Vattakuzhy created Supper at a Nunnery as a visual response to a Malayalam play by C. Gopan about Mata Hari's final night before her execution. The painting depicts the dancer's last meal with nuns in a convent, capturing her calm composure and defiant spirit as she faced death. Vattakuzhy, who was raised in a Christian family, explained that his work explores themes of vulnerability, suffering, and scapegoating. The artist often creates story paintings for literary magazines to reach audiences beyond gallery walls. He was deeply moved by accounts of Mata Hari refusing a blindfold and blowing a kiss to the firing squad, seeing her as a figure of courage and grace under persecution.
Christian groups in Kerala, where Christians make up approximately 18 percent of the population, immediately objected to the painting's iconography. The Syro-Malabar Church's public relations officer condemned the distorted depiction as a violation of basic respect toward religious faith. The Kerala Region Latin Catholic Council wrote to state authorities calling the image inappropriate and demanding its removal from public display. Protesters argued that placing a nude female figure in the position traditionally associated with Jesus Christ was insulting to their beliefs. The venue displaying the work was shut down for security reasons as tensions escalated in the coastal city of Kochi.
Vattakuzhy defended his work, stating it was never intended as a religious provocation but rather as an exploration of suffering and injustice. He explained that for him, Christ represents compassion, love, and empathy for the deprived and scapegoated, not merely an outward appearance. The artist expressed surprise at the strong reaction, given that the work was displayed in a biennale venue meant for an art crowd with a certain level of care and protection. He had cautioned curators about the painting's controversial history, but neither party anticipated such a response at an international art event. Vattakuzhy noted that previous editions of the biennale have hosted major artists like Ai Weiwei and Anish Kapoor without similar censorship.
This is not the first time Supper at a Nunnery has sparked protests. In 2016, the painting appeared in the Malayalam literary magazine Bhashaposhini, triggering similar objections from Christian groups. The publishers withdrew the issue and issued a public apology, an episode that left a lasting impact on the artist. Since then, Vattakuzhy had been cautious about engaging with Christian themes. The current removal has left him feeling demoralized and dispirited, particularly because he considers himself deeply influenced by Christian values. The curators initially stood by the artwork, arguing that removal would amount to censorship contrary to principles of artistic freedom and cultural dialogue.
The incident has reignited debates about artistic freedom versus religious sensitivity in India, where contemporary art often navigates complex cultural boundaries. The Kochi-Muziris Biennale, founded in 2012 as South Asia's largest international contemporary art exhibition, has built its reputation on showcasing challenging and diverse practices. This year's edition, running from December 2025 to March 2026, features works across heritage sites, warehouses, and public spaces. The removal of Vattakuzhy's painting raises questions about whether biennale venues can truly protect controversial works. As the exhibition space reopened without the painting, many in the art community expressed concern about the precedent set for future shows.
