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Outrage in Spain over ‘homoerotic’ Jesus poster to promote Easter week in Seville

A poster of Christ to promote the Easter week in Seville has sparked backlash from Spanish ultra-conservatives, who denounced it as ‘sexualised’ and ‘homoerotic.’

 

The poster designed by Seville artist Salustiano Garcia shows Christ after his resurrection from the dead, standing semi-naked in front of a blood-red background, with the lower part of his body covered by a white cloth.

 

It shows ‘the radiant side of Holy Week’ in the ‘purest style of this prestigious painter,’ said the Council of Brotherhoods and Guilds which organises the main Easter week events in the southern city

 

Outrage in Spain over

Several people on social media have denounced the poster as ‘sexualised’.

 

‘It’s absolutely shameful and an aberration,’ wrote the ultra-conservative Catholic IPSE, which says it fosters ‘respect for Christian symbols’ and is active in opposing abortion

 

The image portrayed Christ as ‘effeminate’ and ‘camp’, it said, demanding a public apology from the artist for a poster that was not in the spirit of Holy Week.

 

Javier Navarro of the far-right Vox party joined the chorus of disapproval, saying the poster ‘sought to provoke’ and did not advance the aim of ‘encouraging the faithful to participate in Holy Week in Seville’ in remarks on X, formerly Twitter.

 

Outrage in Spain over

The artist told the right-wing ABC newspaper that his portrayal of Christ, which was based on an image of his son, was ‘gentle, elegant and beautiful’ and created with ‘deep respect’.

 

‘To see sexuality in my image of Christ, you must be mad,’ he said, insisting there was ‘nothing’ in his painting that ‘has not already been represented in artworks dating back hundreds of years’.

 

Outrage in Spain over

Juan Espadas, leader of Spain’s ruling Socialist party in the southern Andalusia region, immediately came to the defence of the artwork, denouncing the ‘expressions of homophobia and hatred’ that it had sparked, and saying it combined the region’s ‘tradition and modernity’.

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