Shocking: Kiko’s Holy Card

Dear Brothers,
we offer to you this image with our deep wishes for you to pray with us: for me, for Carmen and for Father Mario.
We are surprised and at the same times concerned by what is happening with the Jews. Is it that the Messiah, Who is present in us, wants to approach His people? We cannot know. What’s important is that we need your support, your love, and above all your prayers.
Pray for me.


What can we say? When we recover from our astonishment, the first words that occur to us are: “exaltation”, “out of one’s mind”, “symptomatic sign”, “shocking”, “cult of personality”…

It’s not sufficient to ridicule him because after laughing at him, the upsetting question: “is he joking?” is still present.

On behalf of whom is he talking? On behalf of his followers? The problem is that he’s pretending to talk in name of the Church. Think about it. This is preoccupying since in this stage of his life he founds that he’s doing what he doesn’t want to do because it is “God who forces him” even to perform the lugubrious symphony—that every music expert would not consider a true symphony—through which he feels pervaded with ‘holy fear’, as if he were sent to the Jews.

Ask yourselves seriously, then, which “Messiah” is he talking about. I.e., what does it means “Who is present in us”? What does it mean “His people”? Aren’t we the Christians the people who has acknowledged the Messiah? Is he suggesting that the Messiah is a private issue of the Jews while Christianity has been just one of those meaningless twenty-century-old things that could happen sometimes? Does it means that Kiko is sneakily trying to bring his followers to Judaism?

Neither Christianity nor Judaism benefits from this clearly bizarre “jewification of Christianity” (in its symbols, its teachings, its praxis). Why, then?

What’s the Way actually? A tool? Where does it lead? How many people (apart from Kiko) believe that Kiko’s symphonies are really able to incline the Jews towards the “Messiah”?

This is a serious issue that should be denounced both for its significance and for the exaltation and the detachment from truth. Were we wrong when we saw a sort of messianism in this?

Isn’t the concernment mentioned by Kiko a fake holy fear of a man who believes to be entrusted with a messianic mission and distributes holy cards so that people can pray for him? Who is him? What’s more worrying is that he persuades a lot of people and pretends to talk on behalf of the Church. We’re concerned for simple people who—in good faith—let a wretch like him guide them. However, where does he bring them? At first, he pretended to reformate the Church and claimed that the Neocatechumenals were the restorer of the “true” Church (while using Jewish symbols like the Hanukkah and out of place referrals to Zerubbabel). Now, he self-proclaims himself to be the medium through which the Messiah will reach the Jews. But when he invites the Jews to listen his symphony he removes the cross and the images of Our Lady.

The three concerts “The suffering of the Innocents”, whose cover displays the ‘symphonic composer’ Kiko who looks towards Auschwitz, have been held in Boston (6 May 2012), New York (8 May) and Chicago (12 May).

The problem is that what he has presented in the very same Vatican what he calls “suffering of the innocents”, saying that he was inspired by Ezekiel 21, a chapter in which the “killing sword” is mentioned: not the one which pierces the heart of Our Lady, but the one which God uses to kill His enemies.

This abomination is now going around the world, starting from the Holy Land. I believe it’s shocking that it reaps honors everywhere, without anybody noticing the enormous, horrid triviality of what is spread.

Kiko distributed the holy card with that shocking prayer to his adepts, but the message on his tour’s site is different: it doesn’t mention the “Messiah”:

A message from the composer, Kiko Argüello – Dear brothers and sisters: How could I presume to compose music? Is it my pride? Or my vanity? Be that as it may, an elderly priest once told me: ‘Never avoid doing good for fear of vanity, because that comes from the devil.’

To do good... Is it good to try to compose music? I present to you a small musical composition, which I would like to be a homage to the suffering of the innocents. Can music, perhaps, say something more profound on such a significant theme...? The suffering of the innocents... The philosopher Sartre said: ‘Woe to the man whom the anger of God crushes against the wall,’ and Nietzsche: “If God exists and does not help those who suffer, he is a monster, and if he cannot help them, he is not God, he does not exist.’ 

To be crushed against the wall. Men lying on the street, dying of cold. Children abandoned and housed in horrific orphanages, where they suffer violence and are abused. That woman, whom I knew in that neighborhood, suffering from Parkinson's disease, abandoned by her husband, whose mentally-ill son beat her with a stick, and was begging for alms. I was overwhelmed…

What a mystery the suffering of so many innocents who bear the sin of others: incest, a violence unheard of, that line of naked women and children going towards the gas chamber, and that deep pain of one of the guards who was hearing inside his heart a voice: get in line with them and go with them to die; and he did not know where that voice was coming from…

Many say that after the horror of Auschwitz it is no longer possible to believe in God. No! It is not true!

In this symphony, Mary is portrayed totally submitted to the scandal of the suffering of the innocents in her own flesh. ‘Oh, what pain!’ a voice sings as a sword pierces her soul, united to all the mothers that watched their children being killed in the concentration camps, that wept while singing Shema Yisrael. We wish to offer this work as a bridge of love and reconciliation.

Me may pretend not to notice the cult of his personality or limit our field of observation to it—it would be just and logic.

However, Kiko’s plan is much more ambitious and if we don’t consider this, we won’t understand anything about the unconditional favor granted to the Way. This is not a mere declaration of intent.

Mr. Argüello knows what he’s doing and why, whom he is addressing and where, he has always moved the right pawns at the right moment, he has always had the support he needed, and that support came from the top.

That “holy card”, the conference in Trieste are only the last expression of his narcissistic exaltation which already in 1987 made him say that his ‘nueva estética’ would save the Church of the third millennium. In fact, in his conference in Trieste he suggests that it is God who wanted the nueva estética—that is: every action he does, every word he utters, every step he takes, everything he invents would be the fruit of the will of God.

But every person with good sense cannot help feeling perplexed in front of such auto-exaltation, when he boasts about the path of his life attributing every step he took to God, as if he had a hot line with Him: ‘God wanted it, God did it, God forced me to do it.’ Those who hear him say—it is just a small detail compared to the rest but it is still symptomatic and revealing—to have painted the greatest fresco in the world including it in what God allegedly wanted or even forced him to do, simply use their good sense and ask themselves immediately whether they’re facing at least an elated fanatic. Then, if they look for more information about Argüello and—in the case that they didn’t know it before—discover that he’s the leader of a community that worships him and consider him a guru and the source of the incarnated truth, many questions and inquietudes start arising.

A staunch Neocatechumenal writes to us: ‘It’s not blasphemous to say that Jesus Christ has come for suffering people. It’s not blasphemous to encourage the people of Israel to listen to the “Shemà” and to tell them: We wish to offer this work as a bridge of love and reconciliation.

‘Yes, brothers, we should first of all ask ourselves whether we want this bridge or not. Maybe History will tell us that it wasn’t the better one. Maybe History will tell us that it did nothing. But if you merely criticize its existence and want to trash it, one is led to ask himself: What do you feel on good Friday? Anger or compassion?’

Our interlocutor forgets a SMALL DETAIL: the only bridge between the Jews (as much as everybody else) and salvation is Our Lord Jesus Christ who has already come.

Either you acknowledge this—as the Church, that is His UNIQUE bearer, suggests and teaches—or you DON’T acknowledge it. Tertium non datur.

Furthermore, Christ hasn’t come for suffering people but for the sinners estranged from God, to expiate our sin and bring us back to the Father. And he has decided to “suffer” and die on the Cross and then arise from the dead, inaugurate the New Creation and regenerate the humanity of those who receive His Spirit (of Whom the Church is the bearer) in the Pentecost, after bringing back to the Father (with the Ascension) what had been lost.

There’s nothing more to know and to live. There are no Mysteries and human strategies. There is only a divine Action that introduces ourselves immediately and forever in the unbounded mirabilia of God. There’s no need of stages and steps of initiation: you can deepen your faith only being faithful to that “yes” uttered during your Baptism and coherent with the path of faith that lasts your whole life.

Marginal notes

  1. Trieste hosted many of Kiko’s performances: Kiko gave his first “spectacle” first at the Palasport (Palace of Sport) and then in the cathedral of San Giusto. Kiko’s holy card was distributed in the cathedral of Trieste on good Thursday this year (5 april 2012), during the chrismal mass.
  2. Kiko had been invited to the cathedral of Trieste to give a conference on Lent; on Tuesday, 27 March he described in elated, narcissistic tones his own experience of Christ.
  3. He asks to pray for the initiators, but it’s his face—sculptural, obscure, dark, as much as the image—what he shows. And, at the end, he says: “Pray for me.”
  4. he very same Carmen Hernández calls him ‘Saint Kiko’ (in the article that mentions ‘his Luciferian goatee’, cfr. El País, June 2008,
  5. Father Zoffoli wrote some time ago: ‘If my criticism were preposterous—then it would be a gross smear—it would be very easy for the Neocatechumenals to publish a thorough profession of faith to expurgate themselves from the accusations of heresy and promote their Way… That would be sufficient to ease the situation and gain the esteem of bishops and parish priests; then—not before—I would be happy to change my mind about them.’ Up to now Kiko, Carmen and their thugs have never done any ‘public and thorough profession of faith’. Their followers, indeed, may revolt and say: ‘What? Up to now you had taught us that… and instead…’
  6. In the day of the movement (June 2006), when Kiko ended his sermon with annexed union demands, the Neocatechumenals stood up and went away not giving a darn about the speech of the Pope that followed.

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