311:, Leonilson has deliberately combined the masculine article "O" with the feminine noun/name "Penelope". This intentional deconstruction and repurposing of gendered language was a common motif in his artworks– both functioning to remove gender from the artform of needlework and to also remove gendered restrictions on this traditionally feminine narrative of yearning and longing.
25:
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Additionally, Leonilson entered into dialogue with current movements in feminism when he adopted the traditionally feminine practice of embroidery as his main mode of artmaking. This pushing and subverting of gender boundaries can be further observed in the title of the artwork which is stitched into
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was a paradoxical artwork itself as a rapidly deteriorating
Leonilson purposefully committed himself to the time-intensive medium of embroidery. Leonilson had commented on how the process of sewing was therapeutic and spiritual – almost as if it was the only thing holding him together in his last few
297:
By creating a shroud of his own, Leonilson was directly inserting himself into this well-known story of the "faithful spouse waiting for their lover to return". Leonilson's "shroud" is analogous to that of
Penelope's, but also serves a different purpose as his story diverges from hers. He dies very
223:
came soon after his HIV diagnosis and is a well known artwork of his that most outwardly depicted this. The piece itself serves as a self-portrait where
Leonilson courageously exposes his inner body in order to visualize his disease to the participants. The merely empty white fabric, now a stand-in
157:, that his artworks were so “raw” and “revealing” that they were almost like “intimate letters in his diary”. The impact of his artwork was deeply felt within certain marginalized communities as it represented and affirmed queer identities – counter-cultural to authoritarian powers at the time like
293:
to present to her father-in-law as was customary to pay respect to
Odysseus who was presumed dead. She worked on the project for many days on end. However, in order to prevent herself from finishing it, she secretly undid that day's work at night to stall for Odysseus' return as long as she could.
185:
in São Paulo emphasized universal themes of life and death – the fragile and ephemeral nature of life coupled with welcoming of bodily deterioration and death. His artworks created during these last few years clearly spoke to the issues he faced as a queer man living with HIV as his art became a
230:
illustrates the physical struggles of queer men living with HIV/AIDS and alludes to the lived experience of negative perceptions and discrimination. Leonilson provides an intimate self-portrait that is so raw and simplistic in its message of terminal suffering from illness that even individuals
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for his body, manifests personal disfigurements through stitched black scars and a clear indication of his age. These two handstitched components atop his "body" allude to the title of the piece as well as allegorize his illness and condition by depicting biological and visceral images.
186:
practice for working through his own grief. As
Lagnado points out: “beyond the evidence of his ailment, the marks of his resistance against the anguish of death”. This turmoil and grief was brought to life through Leonilson’s final artworks and in his personal audio-diary recordings.
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shortly after finishing this piece and his unknown suitor never comes back from their voyage. Leonilson's shroud not only addressed his yearning for love that was never fulfilled, but the work was also introspective and recognized his own impending passing due to HIV. In fact,
168:
Further in his career, Leonilson began to include the use of fabrics and sewing. This was familiar to him because his parents worked as cloth merchants. This shift to textiles and 3D forms was originally inspired by artists who utilized fabrics to convey societal message like
177:. In conjunction with this, Leonilson's art career was heavily impacted by his HIV (AIDS) diagnosis in 1991. In the following years, Leonilson experienced physical complications that affected his ability to continue painting; he then fully pivoted to solely use textiles and
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fabrics patched together to form a draping banner. The color of each panel is fairly similar with slight variations of off-whites and pale blues. Running along the edge is a large, imperfect, hand-sewn stitches of embroidery thread. Additionally, a common
152:
Returning to Brazil in 1982, he continued creating artwork that was predominantly autobiographical of his adult life and experiences as a queer man. It had been recognized by many art critics at the time, such as
136:(1946- ) at the Aster Art School where, again, the use of materials beyond paint and sculpture were emphasized in their importance in expressing universal themes through an alternative mode.
273:
Through this artwork, Leonilson connected himself with, synthesized, and subsequently subverted historical narratives and modes of artmaking. Starting with the mythology of this piece,
124:(1938-2003) was an artist and scholar who focused on working in new mediums and the conceptual theory behind connecting them to traditional forms. Additionally, Leonilson studied under
181:. Regardless of the diagnosis, he continued to produce artworks but they became more sparse and increasingly allegorical for his illness. A famous 1993 installation conceived for
1104:
289:). With Odysseus not immediately returning after the war, Penelope was pressured by suitors to remarry. She tells the men that she cannot do so until she finishes weaving a
193:
for his artworks and contributions. Much of his artwork is recognized for its historical importance in chronicling and visually representing individuals affected by the
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humanizes and destigmatizes queer men living with HIV through
Leonilson's vulnerable and autobiographical depictions of universal concepts such as death and suffering.
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years – and this artwork seems to encapsulate this as he used sewing to cope with his current condition as well as to forestall his grim future.
652:. Miriam Margarita Basilio Gaztambide, Museo del Barrio, Museum of Modern Art. New York: El Museo del Barrio and the Museum of Modern Art. 2004.
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1991, acrylic, embroidery thread, and plastic tacks on voile, 16 1/8 x 12 3/16" (41 x 31 cm), Museum of Modern Art, New York
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Beck, Ana Lucia, da Silva Luiza
Berwanger, Mary (2016). "Bleeding Words: Louise Bourgeois's and José Leonilson's Love Images".
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https://assets.moma.org/documents/moma_catalogue_479_300063151.pdf?_ga=2.37541152.1432844297.1635953935-1612988953.1635555649
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in 1977. While there, Leonilson studied under multiple artists and instructors who were fundamental to his introduction to
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Leonilson died of complications from HIV on March 28, 1993, in São Paulo. He was posthumously awarded in 1994 by the
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149:, that had completely different focus for their artwork than the conceptual art movement at that time in Brazil.
132:(and sometimes also erotic) artworks focused on political and social criticisms. Later, Leonilson studied under
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In 1961, Leonilson moved with his family to São Paulo, Brazil where he later started studying art education at
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915:"MoMA at El Museo: Latin American and Caribbean Art from the Collection of The Museum of Modern Art | MoMA"
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375:, 1991, acrylic, embroidery thread, and plastic tacks on voile, 16 1/8 x 12 3/16" (41 x 31 cm)
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963:"New Perspectives in Latin American Art, 1930–2006: Selections from a Decade of Acquisitions | MoMA"
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MoMA at El Museo: Latin
American and Caribbean Art from the Collection of The Museum of Modern Art
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794:"Envisioning the Body Politic Through Dense Layers of Paint: The Art of Adriana Varejão"
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Leonilson briefly traveled in Europe, and in the early 1980s he interacted with
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is in direct conversation with the story of
Penelope who waits for her husband
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1035:"I Am Still Alive: Politics and Everyday Life in Contemporary Drawing | MoMA"
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357:, 1989, watercolor and ink on paper, 12 1/2 x 9 3/8" (31.9 x 23.9 cm)
77:
44:
757:"Flouting Realism, Brazil's LGBTQ Directors Establish an Exciting New Wave"
24:
339:, 1989, watercolor and ink on paper, 12 1/2 x 9 3/8" (31.9 x 24 cm)
647:
278:
129:
348:, 1989, watercolor and ink on paper, 12 1/2 x 9 3/8" (32 x 24 cm)
104:(AIDS) at the age of 34, and died a few years later from complications.
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and in 3D as textile worker and sculptor. He lived most of his life in
85:
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89:
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I Am Still Alive: Politics and
Everyday Life in Contemporary Drawing
384:, 1992, watercolor and ink on paper, 9 x 12" (22.8 x 30.5 cm)
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in Leonilson's works was the empty chair stitched into the margins.
939:"Transforming Chronologies: An Atlas of Drawings, Part Two | MoMA"
97:
852:"'The Penelope', Leonilson (José Leonilson Bezerra Dias), 1993"
330:, 1988, acrylic on canvas, 41 5/16 x 61" (105 x 155 cm)
101:
84:), was a Brazilian artist working in both 2D as a painter and
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in museums and collections in the years following his death.
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focused on expressions of love and grief specifically from a
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Latin American & Caribbean art : MoMA at El Museo
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1993, mixed fabrics, 222 x 83 cm, Tate Modern, London
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Artworks in the Museum of Modern Art Collection, New York
987:"Here Is Every. Four Decades of Contemporary Art | MoMA"
408:
Transforming Chronologies: An Atlas of Drawing, Part Two
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without this condition could understand this piece as a
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the fabric. Looking at the original Portuguese title,
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Here Is Everything. Four Decades of Contemporary Art
128:(1932-2020) who influenced him through his use of
388:Exhibitions at the Museum of Modern Art, New York
891:"Projects 53: Oliver Herring/Leonilson | MoMA"
237:. As a candid portrayal of the diseased body,
1011:"Contemporary Art from the Collection | MoMA"
8:
820:"José Leonilson. 34 with Scars. 1991 | MoMA"
540:: CS1 maint: multiple names: authors list (
792:Harrrison, Marguerite Itamar (May 2008).
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261:is a series of 10 panels of varying
191:São Paulo Association of Art Critics
100:-lens. Leonilson was diagnosed with
1120:20th-century Brazilian LGBTQ people
1110:20th-century Brazilian male artists
755:Tafelski, Tanner (July 25, 2018).
14:
702:Camhi, Leslie (6 February 1996).
417:” – (November 21 – February 25)
114:Fundação Armando Álvares Penteado
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1115:20th-century Brazilian painters
530:: 141–160 – via ProQuest.
438:” – (March 23 – September 19)
424:” – (September 10 – March 23)
434:- 2011 – “
413:- 2008 – “
406:- 2006 – “
392:- 1996 – “
363:Sunset, Earthquake, Loneliness
159:Brazil’s military dictatorship
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396:” – (January 18 – March 12)
354:To Make Your Soul Close to Me
345:Men With Their Own Attentions
118:contemporary forms of artwork
16:Brazilian painter (1957–1993)
1125:Brazilian LGBTQ male artists
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497:Cultural, Instituto Itaú.
410:” – (May 10 – October 2)
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281:to return home after the
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315:Artworks and exhibitions
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38:, as no other articles
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680:: CS1 maint: others (
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469:References
309:O Penelope
300:O Penelope
283:Trojan War
275:O Penelope
263:diaphanous
259:O Penelope
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53:; try the
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175:Parangolé
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108:Career
90:Brazil
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