Curated by Agustín Pérez Rubio, the exhibition brings together circa 70 works by the artist, continuing the activities in celebration of his memory 30 years after his death
Understanding fragility as a poetic form of strength and empowerment can be one of the keys to understanding the intimate and reflective work of one of the most internationally renowned Brazilian artists, Leonilson, born in Fortaleza, Ceará, in 1957. His production includes painting, drawing and embroidery, and carries an intimate and autobiographical approach, exploring themes such as love, sexuality, loneliness, illness and death.
In the year that marks the 30th anniversary of his death, a programming dedicated to honoring the artist and that began in May, at the Morumbi Chapel, continues from August 5 with the exhibition "Leonilson. Political Body" at Almeida & Dale Galeria de Arte, curated by Spanish historian Agustín Pérez-Rubio. The program’s proposed theme aims to understand Leonilson's artistic practice from...a political perspective, noting how he positioned himself in the face of the social issues he battled.
With around 70 works, distributed in rooms, the curator highlights some of the ones that make up the show: "Leo Can’t Change the World" (1991), "The Modern Man" (1986), "[Ianomami; Iguaçú]" (1988), "North" (1988), "José" (1991), "Empty Man" (1991), "Dignity? Fragility; Desire" (1991), "[The Vital One]" (1992), "Sex Love Family Friends Money" (1991), "The Game is Over" (1991), "3 At the Same Time (sic)" (1990), "Poor Sebastião" (1993), "[Origins; Fantasy; Pleasure; Allegory]" (1990), "[Slave]" (1990); "[Bad Boy; Fragile Soul]" (1990).
The project contemplates both Leonilson's vision in relation to ecological issues and the preservation of the memory of certain territories, as well as his experience as a body that does not fit heteronormative norms. This is reflected in his fictional self-representation and free sexuality, his alliances to other minorities, his political values projected from everyday news; his politics of affection towards his family – both blood and chosen –, and in his empowerment as a fragile and sick body, where the politics of care are also part of his legacy.
On May 28, 1993, the artist passed away due to complications related to HIV/AIDS. His artistic legacy transcends his experiences and context, is currently essential to understanding some of the artistic drifts of the late 20th century. During his career, he developed a distinctive style, characterized by delicate lines, symbolic imagery and the use of words and letters in his compositions. He combined different techniques such as acrylic painting, collage and embroidery, creating works that were both visually captivating and loaded with meaning.
"I think Leonilson's legacy is essential, aesthetically as well as politically. His work is full of references for many other young artists who today see in his artistic practice poetic reflections of how he faced social and political issues by innovating in forms of representation and communication", says the curator.
Entrada actualizada el el 08 mar de 2024
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