Knights of Columbus to cover Rupnik art in DC and Connecticut
(Catholic News Agency. Hannah Brockhaus).
The Knights of Columbus announced Thursday it will cover mosaics by the accused abuser Father Marko Rupnik in Washington, D.C., and Connecticut, a dramatic move that represents the strongest public stand yet by a major Catholic organization regarding the former Jesuit’s embattled art.
(José Lorenzo. Religión Digital).
“No se trata de destruir los mosaicos ni de comentar sobre su calidad. Tampoco se trata de pronunciar o anticipar el veredicto del actual juicio canónico. Ni siquiera posicionarse directamente en los debates actuales sobre la separación de los artistas de sus obras. Lo que pedimos es que estas obras se trasladen a otros lugares, pero no a lugares de oración”.
Es la petición, clara y firme, de una de las decenas de víctimas del exjesuita y reconocido artista, Marko I.Rupnik, para que se retiren sus obras de los lugares de culto que los acogen en numerosos países de todo el mundo, incluido el Vaticano, cuya agencia de noticias suele usar también sus imágenes para ilustrar algunas notificaciones, lo que ha motivado también una protesta de las afectadas.
(Complicit Clergy. Kristen Ciaccia).
When I was seven, my parents brought home a painting and hung it above the fireplace. They summoned my brother and me into the living room, and we looked at the painting up close. In front of us was a collection of squares in muted and faint purples, pinks, blues, and grays. My parents then had us view the painting from a distance, dimming the lights. A man appeared on the canvas. We were enchanted by this transformation. My parents didn’t tell us the name of the painting or the artist, and it was always known as “the cool painting” in our home. Last summer, I found myself again contemplating that cool piece of art, this time as a middle-aged woman. I reflected and asked myself: Do I need to stop looking at others so closely that they become a collection of faults? Should I instead step back and take a broader view in order to appreciate humanity? I don’t know what the artist was trying to convey with his art, but I was able to be moved and learn by just contemplating this piece because artwork, detached from the artist, can teach us.
(Religión en Libertad).
En el último día de la Conferencia de Medios Católicos en Atlanta, el Prefecto del Dicasterio para la Comunicación del Vaticano, Paolo Ruffini, respondió a las preguntas planteadas por los periodistas sobre la práctica habitual de su dicasterio de publicar en Vatican.news y en las redes sociales obras de arte del P. Rupnik, conocido por abusar de religiosas.
«Como cristianos, se nos pide que no juzguemos», dijo Paolo Ruffini a una sala llena de profesionales de la comunicación tras pronunciar un discurso en la CMC el 21 de junio. Explicó que, aunque el proceso de investigación vaticana sobre el padre Rupnik sigue su curso, «anticipar una decisión es algo que, en nuestra opinión, no es bueno.»
(The Catholic World Report. Christopher R. Altieri).
“Who am I to judge the Rupnik stories?”
Pope Francis’s Communicator-in-Chief, Dr. Paolo Ruffini, asked that rhetorical question on Friday in an Atlanta, GA hotel ballroom, in front of journalists, one of whom—Colleen Dulle of America Magazine, it happens—had asked him to explain his dicastery’s rationale for continuing to use reproductions of artwork by a disgraced priest who is accused of serial sexual abuse. Well, nobody is asking Ruffini to judge the case, which—just so we’re clear on the point from the outset—is very strong. The Rupnik Affair has been before the public for the better part of two years. The Jesuits who investigated him believe he is guilty. The CDF believes there is a case to answer but declined to prosecute, citing the statute of limitations. Rupnik would never have faced the prospect of trial were it not for sustained press scrutiny and pressure from inside Francis’s own inner circle. No one is asking Natasa Govekar to judge the business, either.
(The Catholic World Report. Christopher R. Altieri).
The Vatican’s chief comms officer on Friday defended his department’s use of an accused serial rapist’s art. “We’re not talking about abuse of minors,” said Dr. Paolo Ruffini, Prefect of the Dicastery for Communication of the Holy See, on Friday, 21st June 2024, in response to questions from journalists gathered in the Heritage Ballroom of the Atlanta Marriott Buckhead and Conference Center. Ruffini was there to deliver the keynote address on the last day of the annual Catholic Media Conference and had opened the floor to queries, two of which came from Colleen Dulle of America Magazine and Paulina Guzik of OSVNews. The Vatican has continued to use digital reproductions of pieces by a disgraced former celebrity Slovenian artist-priest, Fr. Marko Rupnik, even after he began to face allegations he spiritually, psychologically, and sexually abused dozens of victims, most of whom were women religious. The Vatican originally declined to prosecute Rupnik, and Pope Francis only reversed course after facing close scrutiny and sustained criticism.
(kath).
The British periodista Damian Thompson commented: “Incredible, @VaticanNews used the art #Rupnik for the commemoration of Mary, Mother of the Iglesia. It is enfermizo y it intencional”.
“Increíble, @VaticanNews used the art #Rupnik for the commemoration of María, Mother of the Iglesia. It is enfermizo y it intencional”. This is what the renowned British periodist Damian Thompson describes. Thompson is co-editor of The Spectator and former editor and head of the Catholic Herald, among other publications. Thompson expresses the value in “X” (Twitter) and the application with a screen capture. Vatican News publicó la imagen sin ningún commentario distanciador y sin mencionar el name de Rupnik.ver enlace al artículo de Vatican News.
(Crux. Elise Ann Allen).
Argentine Cardinal Víctor Manuel Fernández, the Vatican’s doctrine czar, has said that despite the broad use of alleged spiritual or mystical experiences to commit and justify abuse in the church, disputes over terminology can muddle prosecution. His perspective may have implications for efforts to prosecute some of the most high-profile and contentious abuse cases today, including the case of Slovenian ex-Jesuit Father Marko Rupnik, who stands accused of multiple acts of abuse against dozens of adult women, mostly nuns, stretching over more than 30 years.
Speaking to journalists during a May 17 press conference presenting new norms for evaluating the authenticity of Marian apparitions or other spiritual phenomena, Fernández was asked about what is sometimes described as “false mysticism” in abuse cases. Prefect of the Vatican’s Dicastery for the Doctrine of the Faith (DDF), Fernández replied, “When we speak of false mysticism, we must be careful…false mysticism is used a lot and in a lot of different ways.”
(Nathália Queiroz. ACIDIGITAL).
O Santuário Nacional de Aparecida, em Aparecida (SP), inaugurou no sábado (11), os mosaicos de sua fachada sul, com cenas do Novo Testamento que narram desde o nascimento de Jesus até a sua morte e ressurreição. A obra faz parte do projeto Jornada Bíblica cujo objetivo é revestir as quatro fachadas do Santuário Nacional com mosaicos que representam cenas bíblicas.
(The Catholic Thing. Brad Miner).
Father Marko Rupnik’s work reminds me of the art attributed to Walter Keane, the American artist who was popular in the 1960s. His paintings of big-eyed girls and women, and of animals remain enduringly popular on posters, prints, and plates.
Keane and Rupnik are also alike in being frauds. In Keane’s case, he took credit for work actually painted by his wife, Margaret. In Rupnik’s case, the fraud was more moral and canonical; he’s been credibly accused of being a serial fornicator and a kind of spiritual rapist. We could categorize the artistic work of both Keane and Rupnik as “Naïve.” That term is defined by the Tate – London’s leading museum of modern art – as “simple, unaffected and unsophisticated. . .art made by artists who have had no formal training in an art school or academy.” This doesn’t mean Naïve art cannot be great. Among the artists lumped into the category are Henri Rousseau and Anna Mary Robertson, aka “Grandma” Moses.
(Federica Tourn. OUR SUNDAY VISITOR).
For the rector of the world’s second largest church after St. Peter’s Basilica — the Sanctuary of Our Lady of Aparecida in Brazil — May 11 will be a day of celebrating the inauguration of the southern facade’s mosaics, all created by Father Marko Rupnik.
(Carl E. Olson. Catholic World Report).
A week ago, the editors of the National Catholic Register published an editorial titled “It’s Time to Remove Father Rupnik’s Art”. Their strong stance, they said, was “not an expedient surrender to iconoclasm or ‘cancel culture,’ even though the court of public opinion already has judged him guilty of sexually, spiritually and psychologically manipulating and abusing multiple religious sisters under his authority.”
(Andrea Gagliarducci. Acistampa).
Mettersi in ascolto prima di tutto. Comprendere che sinodalità e gerarchia non sono in competizione, ma due realtà che in qualche modo si compensano e si aiutano. Lavorare sulla collaborazione e sul dialogo, e non sulla polarizzazione. Il teologo Piero Coda spiega così il senso della Chiesa sinodale voluta da Papa Francesco.
(El Debate. Alex Navajas).
e trata de un debate tan antiguo como la historia del Arte: ¿hay que separar la obra del artista? O, dicho más a las bravas: si un artista es un criminal, un pederasta, un asesino, un misógino, un ladrón, ¿hay que condenar sus obras artísticas, además de al individuo? En nuestra sociedad partidaria de la cultura de la «cancelación», parecería que sí, pero entonces habría que descolgar de todos los museos del mundo obras de Caravaggio o de Picasso, asesino el primero y maltratador el segundo.
(Michael Haynes. LifeSiteNews).
(Michael Haynes. LSN).
The Vatican’s Congregation for Divine Worship has informed LifeSite that the disgraced ex-Jesuit alleged serial abuser Father Marko Ivan Rupnik is not a consultor for the office, despite being listed as such in the Vatican’s official yearbook.
When questioned by this reporter on April 18, an official for the Congregation (now Dicastery) for Divine Worship (CDW) rejected the notion that Rupnik is still a consultor for the CDW.
(The Pillar. MICHELLE LA ROSA).
The Cardinal O’Boyle Council 11302 passed a resolution April 9 calling on Knights leadership to remove Rupnik’s artwork from the shrine’s Redemptor Hominis Church and the Luminous Mysteries Chapel. The resolution notes that Rupnik has been accused of sexually abusing religious sisters in the context of creating his works of art.