The blasphemy case against Afghan journalist Sayed Perwiz Kambakhsh, 23, is back in the news. Kambakhsh appeared at an appeal hearing in Kabul on Sunday, pleaded innocent and was given a week to present his defence statement against the primary provincial court’s ruling and to find a defence lawyer. Our report from Kabul says he flatly denied charges he had insulted Islam and the Koran and had distributed an article which said Prophet Mohammad had ignored the rights of women.

It’s not clear if there is a connection but Reporters without Borders (RsF) issued a statement on Friday calling on Kabul to give Kambakhsh’s lawyer the case file so he could prepare his defence. “The case has not progressed since it was transferred to the Kabul court of justice,” RsF said in a statement. “We urge the authorities to speed up the procedure so that Kambakhsh’s appeal can receive a fair hearing, far from the influence of religious fundamentalists. This was not the case when he was tried and sentenced to death for blasphemy in Mazar-i-Sharif. We call on foreign governments to continue to intercede on Kambakhsh’s behalf.”

Kambakhsh was transferred from Mazar-i-Sharif to Kabul in late March and has been held in the city’s Pul-i-Charkhi prison since then.

The Danish caricatures of the Prophet Mohammad were widely condemned in the Muslim world and led to violent protests, attacks on embassies and even deaths. Even in recent days, they have continued to stir more protest (in Pakistan) and create security problems (in Afghanistan). They have set off a kind of “clash of civilisations” with a Muslim side denouncing them as blasphemy and a western side defending them as freedom of speech. The whole dispute has been extremely polarising.

Now one of the most popular preachers in the Middle East, Egypt’s Amr Khaled, has said there were positive sides to the uproar. The caricatures “were useful for Muslims and the Islamic world” because they prompted Muslims to stand up for the Prophet and for Islam, the television preacher told the German news agency dpa on Monday. The dispute “charged the batteries of Muslim youths, strengthened their faith and got them to stand up actively for their religion.”

Can a controversy that polarises people and leads to death and destruction be “useful” for a religion?

The mainstream Austrian press has now got hold of the debate over a controversial exhibition in Vienna’s Cathedral Museum and the director is wading right in. Austrian papers have not given the Alfred Hrdlicka exhibition too much attention until recently. The celebrated 80-year-old Austrian artist’s outspokenness and bold paintings are nothing new to country with a tradition for daring art.

Now the museum’s director Bernhard Böhler has told Die Presse newspaper he is amazed by the fierce criticism the museum has received for exhibiting a homoerotic version of the Last Supper, which had to be taken down on the request of Vienna’s Cardinal Christoph Schönborn. The exhibition provoked some complaints from visitors but it was the uproar on religious blogs in German and in the United States that really hit both the museum and the cardinal hard.

Boehler put this “massive verbal hostility” down to the fact that most of the critics don’t know Hrdlicka’s art well enough. He said he was “astounded by the heatedness of the debate.”

“The protests mainly came from Christian fundamentalist circles in the United States and eventually spilled over into Germany,” he says. “So it came from people who neither had the knowledge of the seriousness of Alfred Hrdlicka’s work nor had seen the exhibition.”

The Italian newspaper Il Giornale said the disputed painting wasn’t taken down fast enough and criticises the exhibition. In his blog, their Vatican correspondent Andrea Tornielli comments that nudes in paintings were not scandalous in themselves — Michelangelo painted nudes in the Sistine Chapel — “but here we’re talking about something different, we’re talking about a homosexual orgy with the Apostles as the main characters!”

Böhler has emphasised the museum never meant to offend anyone and says it does not necessarily agree with all of Hrdlicka’s approach. But he has said artists have the right to provoke and that the museum is entitled to offer them a platform.

“In Austria there has been a long-standing dialogue between art and the church which was led by Otto Mauer,” Böhler says, referring to the 20^th Century Austrian artist and priest.

In his statement yesterday, Cardinal Schönborn also stressed that Hrdlicka was a great Austrian artist. It sounds like they’re saying this issue looks different if you’re Viennese and that people there would understand it better than foreigners would. Do you think this should be taken into account in judging this exhibition?

We recently wrote about an exhibition in Vienna’s Roman Catholic Cathedral which has caused quite a stir — it included a homoerotic version of Christ’s Last Supper by Austrian artist Alfred Hrdlicka. The picture was quickly taken down at the request of Cardinal Christoph Schönborn, the archbishop of Vienna.

The cardinal has now made a statement about the exhibition regretting the work was ever shown but describing Hrdlicka as one of Austria’s most notable artists. He also says art inspired by biblical subjects is something to be welcomed, even if the artists themselves are atheists. The full statement, sent to Reuters in English, is copied below.

There’s been a lot of criticism of Cardinal Schönborn on religion blogs connected to this exhibition. What do you think of his statement?

“The Vienna Cathedral Museum has dedicated a special exhibition, for which the museum’s director, Dr Bernhard Böhler, is personally responsible, to the artist Alfred Hrdlicka on the occasion of his 80th birthday. Hrdlicka is one of Austria’s most notable living artists who, probably more than any other living artist, has devoted himself to the suffering and downtrodden human being and has appealed for “compassion” with the “Passion”. He expresses this “compassion” in a most perturbing way. Hrdlicka`s best-known works in this respect are the “Danse macabre of Plötzensee” (Berlin) and his impressive Holocaust Memorial (Memorial Against War and Fascism) in front to the Albertina Gallery in Vienna. It is for this reason that I agreed to an exhibition of his works at the Cathedral Museum, albeit without detailed knowledge of the individual works to be exhibited.

“Alfred Hrdlicka has dealt with biblical subjects all his life, especially with the suffering of Christ. In spite of the fact that he claims to be a communist and an atheist, he nevertheless has a burning interest in the Holy Bible, and has personally admitted that he has a great longing for faith.

“This exhibition does not mean that the museum identifies itself with all of Hrdlicka`s works. In some of them he oversteps the essential threshold of respect for the Sacred. From the point of view of committed Christians, certain of his works must quite clearly be rejected. I obviously would not have agreed to have blasphemous or pornographic works exhibited. I therefore explicitly regret that a work of this kind was exhibited without my knowledge. I ordered the particular work - which committed believers find deeply distressing - to be removed on 20 March.

“Nevertheless, I still hold the opinion that we must welcome the fact that artists who do not share our faith, or are still searching for belief, occupy themselves so intensively with biblical subjects.”

The sketchy black-and-white picture shows the Twelve Apostles drinking, dancing, and well, getting extremely friendly with each other. It certainly isn’t the version of Christ’s Last Supper that most people are familiar with…

Austrian artist Alfred Hrdlicka’s version of the Last Supper as a homosexual orgy was supposed to be one of the highlights of an exhibition at the Dommuseum, the museum of Vienna’s Roman Catholic cathedral. An initial favourable review by the local Catholic news agency didn’t seem to find anything wrong. But blink and it’s gone — thanks to the intervention of Cardinal Christoph Schönborn, the archbishop of Vienna, after the painting sparked criticism in Austria and as far away as the United States. Here’s a protest article in German (with 61 comments and an explicit video about the exhibition) and a comically bad machine translation into English.

The museum, a stone’s throw away from St. Stephan’s Cathedral, says it never intended to offend anyone but stands by its decision to celebrate Hrdlicka’s 80th birthday with a retrospective of his biblical-themed works.

Was the cardinal right to tell the museum to remove the most controversial piece? Should the exhibition have taken place in a museum linked to the Catholic Church anyway?

Looking from the outside in, it seems odd the museum was completely unaware of the reaction it would provoke. But Hrdlicka — an atheist who has spent his artistic life being inspired by the Bible (the most thrilling read ever, he says) — is a celebrated public figure in Austria, a country with a tradition of outlandish artists.

Take the now-feted Gustav Klimt and Egon Schiele who were condemned for their “pornographic” art at the beginning of last century. Their paintings now sell for millions of euros and the city uses them in its tourism ads.

The museum says a lot of the complaints about the Hrdlicka exhibition came from abroad, where people had read about the exhibition online. Many Austrians who came to the display didn’t seem to have a problem with it, museum director Bernhard Böhler says. He points out that only a minority of the works provoked on-the-spot complaints.

And the cardinal’s office argues that just because the museum exhibited the works, it does not mean that it identifies with all of them. Böhler agrees: “We look for art on biblical themes, but we can’t always choose how the artist will interpret them.”

But by displaying the works, is the museum nevertheless endorsing them? What would have happened if the museum had decided to display similar works concerning the Prophet Mohammad? Is this a valid comparison to make?

It seems unlikely that the exhibition will be closed - it would be slight towards an artist who is as much a part of Vienna as its coffee houses and cobbled streets. Hrdlicka is described on the website of Austria’s chancellor (prime minister) as the country’s “most renowned contemporary sculptor.” His Memorial Against War and Fascism has been on display in the capital’s central Albertinaplatz since 1988.

Hrdlicka also has admirers outside of Austria. At a recent exhibition in Berlin, the leader of Germany’s Left Party, Oskar Lafontaine, compared him to the Spanish artist Francisco Goya. “Like the great Spaniard, the Viennese artist, with his unruliness and his passion, is an unforgiving observer of his time.”

But it seems not everyone is a fan and his works have obviously deeply offended some in the Christian community — something which both the diocese and museum acknowledge.

Hrdlicka, on the other hand, remains slightly bemused by it all. “I’ve got nothing against the Catholic Church,” he says. “But all this has nothing to do with me … I don’t really mind whether the painting is displayed or taken down.”

The exhibition is on display in Vienna’s Cathedral Museum until May 10.

Just a quick update on a case we’ve talked about here before: Sayed Perwiz Kambakhsh, the 23-year-old Afghan journalist sentenced to death for blasphemy and other crimes against Islam, has been moved to Kabul for his appeal against that verdict. Reporters without Borders (RsF) says he was moved on March 27.

“His request for transfer to Kabul has finally succeeded, allowing Sayed Perwiz Kambakhsh to be separated from other detainees in the vast Pul-i-Charki jail, in the east of the capital,” RsF said in a statement . “His transfer to Kabul has given rise to hopes that his appeal will not be influenced by religious fundamentalists, as was the case when he was sentenced to death for “blasphemy” by a court in Mazar-i-Sharif, on 22 January 2008.”

The appeals trial is due soon but it’s not yet clear when.

Arab Media and Society has published an English translation of the Arab League’s Satellite Broadcasting Charter approved by Arab governments at a meeting in Cairo in February, along with contrasting opinions of the charter widely criticised by advocates of media freedom. In essence, the charter incorporates restrictions which most Arab governments already apply to their own terrestrial broadcasters and to satellite broadcasters which operate from their territory. But the governments have tended to give the satellite broadcasters a little more freedom than they allow terrestrial broadcasters, most of which are state-owned.

The operative clauses for religious broadcasting are clauses 9 and 10 of article 6:

9. To comply with the religious and ethical values of Arab society and maintain its family ties and social integrity.

10. To refrain from insulting God, revealed religions, prophets, mazhabs (religious sects), and religious symbols.

As with several other clauses prohibiting certain types of broadcasts, the bans are stated in the broadest terms, leaving plenty of room for interpretation. But until the governments start to apply the charter to satellite broadcasters under their jurisdiction, it will be hard to predict what practical effect it will have.

For more on this charter, check out our reporting on the charter and reactions from Arab satellite broadcasters and Human Rights Watch.

Sayed Perwiz Kambakhsh, the 23-year-old Afghan journalist sentenced to death for blasphemy and other crimes against Islam, has told the London daily The Independent in his first interview since the verdict that his trial for downloading a report on women’s rights from the Internet was over in only four minutes. Independent correspondent Kim Sengupta spoke to Kambakhsh at his prison in the northern city of Mazar-i-Sherif. Here is the interview and an editorial by the newspaper, which has launched a petition for Kambakhsh’s release that has got 88,500 signatures so far.

Reports so far about the death penalty against journalist Sayed Perwiz Kambakhsh have said that President Hamid Karzai could pardon him if the sentence is upheld by the Afghan courts. Now, a presidential spokesman has said that the president must confirm or reject any death sentence before it is imposed. So if this case goes down to the wire, Karzai will have to decide one way or the other. That sounds positive for Kambakhsh, because Karzai (no matter what he thinks about the verdict) is presumably open to pressure from Western allies not to carry out the sentence.

Afghan Defence Minister Abdul Rahim Wardak has said he doubts Kambakhsh will be executed. There has been a demonstration in Kabul demanding freedom for the young journalist, whose brother Sayed Yaqub Ibrahimi wrote an article for IWPR about it.

This new twist comes a few days after the Afghan Senate withdrew its statement of support for the death sentence on blasphemy charges for Kambakhsh. A spokesman said simply that the publication of the statement was “a technical error.” Actually, the Senate has no authority to approve or reject a court decision, so it had no business commenting on the verdict in the first place.

The case is back at square one, with Kambakhsh working through the appeals court and possibly the Supreme Court. But these developments show how easily this case can flip and flop. It recalls the tussle in the 2006 case of Abdul Rahman, a convert from Islam to Christianity who eventually had to go into exile in Italy.

When we wrote about the death sentence for blasphemy against Afghan journalist Sayed Perwiz Kambakhsh two days ago, it seemed the case was set to trudge through the appeals system and land up at the Supreme Court in Kabul. That, at least, is what his brother, Sayed Yaqub Ibrahimi, told us. Now the upper house of the Afghan Parliament has raised the stakes in a way that may turn this into a messy tussle between Afghanistan and the Western countries trying to help prevent it becoming a failed state.

The upper house, known as the Meshrano Jirga (Elders House), has issued a statement backing the death sentence passed by a court in Mazar-i-Sharif and strongly criticising the international community for putting pressure on Kabul over the case. No excerpts from the statement have appeared online yet but some reports say it was signed by the house leader Sibghatullah Mojaddedi. He was the first president of Afghanistan after the fall of communism there in 1992. During his exile in Peshawar in the 1980s, he was the head of the so-called “moderate alliance” of three mujahideen parties that were believed to be less Islamst than the seven-party “fundamentalist alliance”. However, these two labels were relative, as are many terms and titles in Afghanistan.

The upper house has no legal role in this but, by speaking out, it puts pressure on President Hamid Karzai not to pardon Kambakhsh at any point during the appeals process. It also sends a signal to the appeals and supreme court.

The Institute for War and Peace Reporting argues the case is political and meant to punish Kambakhsh’s brother Yaqub, who has written about alleged human rights abuses in Afghanistan for the institute.