The Government of Mexico City reported that the exhibition ‘The second coming of the Lord’, by Mexican artist Fabián Cháirez, has been suspended by order of a judge, two weeks after the reopening of the exhibition after a first judicial suspension.
“The Sixth District Court in administrative matters has granted the temporary suspension of the sample, which will be in force until the final suspension is decided,” said the local Ministry of Culture, in a statement.
The agency also reaffirmed its “commitment to freedom of artistic expression and inclusion in cultural spaces.”
The judicial decision occurred following an amparo claim filed on April 15 by the Christian Lawyers, which claims that it shows it against “religious freedom.”
The head of the Court that ordered the suspension is Francisco Javier Rebolledo Peña, which dictated the first closing of the exhibition ‘The coming of the Lord’ at the beginning of March.
“Two of two. We celebrate that in Mexico the right to religious freedom, the honor and dignity of the Catholic people is respected,” the organization published on their social networks.
‘The second coming of the Lord’ was inaugurated on April 2, in the Museum of Mexico City, and it was planned to be exhibited until April 30, after its first exhibition at the San Carlos Academy of the Mexican capital, from February 5 to March 7, which was suspended days before its scheduled closure.
However, on April 11, the same judge who ordered the closing declared the suspension of the sample inadmissible.
After the first closure, Cháirez said that at no time was he called for trial or was notified by a judge.
“It is alarming because that speaks of a cooperation by the conservative groups, as Christian lawyers, with this judge who gave them the provisional protection,” said Cháirez in an interview with EFE.
‘The coming of the Lord’, composed of nine oils on canvas, where Cháirez takes elements of sacred art and fuses them with eroticism and sexuality, generated controversy and protests in favor and against their first days of exhibition.
This is the second controversy in which the artist is involved, after the exhibition in 2019 of the picture ‘The Revolution’ or ‘Zapata in Tacones’, which reinterprets the Mexican revolutionary Emiliano Zapata from a homoerotic perspective, which generated various manifestations.
With EFE information
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