DESCANSO
acrYlic on Canvas, 120 cm x 100 cm
This artwork emerges as a result of research into the pictorial work of rural characters by Juan Manuel Blanes (1830 - 1901).
2024
awarded the Federico García Lorca Ibero-American Award, organized by the Embassy of Spain in Uruguay and the Intendencia of Montevideo +link
"The historical construction of the republic has been based on a hetero-cis-white-centric vision. The national heroes and Latin American emancipatory processes have sidelined any possibility of gender identities and their intersectionalities taking center stage. In recent years, our communities have begun to revise this nationalist imaginary of our origins, as well as critique the processes of their construction and narratives. It is from this standpoint that I began to think of Juan Manuel Blanes' 'Gauchitos' as a way to impose and naturalize in art the beauty of the marginalized from society at the time. To give them a place in rest under magical, natural, and bright sunsets, with garments draped in folds and still weapons. This led me to translate that 'rest' into the present. How that collective body of works has contributed to the naturalization of characters from a time that did not respect the establishment and how that representation, which ultimately becomes reivindicative, has an unusual presence in contemporary Uruguayan art. In my research of Blanes' series on the 'criollo print,' I not only discovered that he painted them in Italy, but that the models who posed for him were dancers. I have always recognized in those bodies the familiarity with which queer people recognize themselves in a society that has constantly forced us into ultraism. Blanes filled the 'criollo' print, the most masculine character, with wildflowers and mannerisms: the most virile figure of our gently rolling plains almost brushes a prehistory of Tom of Finland’s works. Perhaps this true impulse is what motivated me from the beginning to revisit this series, the oppressed spirit trapped in such alien garments that I could glimpse from my childhood. I decided then to paint a picture inspired by Blanes' 'Rest' from a gay iconography, with a presence of wonderart, superflat, and neo-pop, as the rebirth of a queer xatria without art."
big pink
acrYlic on PVC, 10 m x VARIABLE
Leho was invited to perform an intervention at the “Cul Béni” party during Pride in Paris.
2024
The work created and exhibited at La Flèche d'Or was a 10-meter inflatable sculpture of an anal plug.
CADETS
DIGITAL ART AND NFT ART
remember seeing a few years ago a group of Russian cadets dancing to the rhythm of "Satisfaction", from that insurrection against the masculinized body itself these pieces emerge in the midst of an increasingly violent and lacerating world.
2023
Serie of digital artworks where I experimentes the possibilities of sensuality, harshness, tenderness of experiences, as well as variety and diversity through digitally generated images. The queer, the forbidden, the dirty, love and the spontaneous interpreted by objects, textures and lights.
2024 Collective Exhibition “Museari, Queer Art 7” Museu de Belles Arts de Xátiva, Valencia, Spain. June 5 - September 5, 2024. Digital Art printed. 2022 Solo Exhibition "Mariconadas NFT" (individual)Museari, Valencia, Spain. Digital art
bk3d
DIGITAL ART PRINTED, 110CM X 110CM
"dirty pleasures" The queer, the forbidden, the dirty, love and the spontaneous interpreted by objects, textures and lights.Many of these images try to encompass concepts that he was already working on, creating an alternative universe of temptations.
2022
Serie of digital artworks where I experimentes the possibilities of sensuality, harshness, tenderness of experiences, as well as variety and diversity through digitally generated images.
The Great Conspiracy
collaboration avec francesc ruiz
La Gran Conspiración is a virtual exhibition promoted by the Royal Academy of Spain in Rome. It brings together works created specifically for the digital medium, exploring forms of remote contact and telecommunication.
Following its launch in December 2020, the project continues in 2021, connecting artists with professionals from different artistic contexts through virtual meetings in London, Brussels, Washington, and Montevideo.
This gathering brings into dialogue the work of artists Leho de Sosa (Uruguay) and Francesc Ruiz (Spain). Their conversation will explore issues and references related to the production and circulation of LGBTQI+ comics in different contexts and moments. Also present as moderators will be Manuela Pedrón and Jaime González, the curators of the project.
2021
La Gran Conspiración falls within the tradition of distributed artistic practices, including mail art and net art, among others—initiatives linked to the expansion of the artwork, its dispersion, or simply the consideration of the various aspects that shape and surround it. These are works that utilize communication-based formats such as newspapers, pamphlets, magazines, fanzines, posters, radio, or television.
The concept of distribution is thus connected to the idea of creating artworks that are not unique but multiple, enabled by their capacity for reproduction. This is a form of art whose essence does not lie in singularity or exclusivity but rather in its social reach.
SUDAKAS
15th biennale of contemporary art of lyon
Sudakas is a performative intervention by artists Mario López (Brazil), Delfina Martínez (Uruguay), and Leho De Sosa (Uruguay), aimed at exposing colonization from a South American perspective within a European context. It was presented at the 15th Biennale of Contemporary Art of Lyon in 2019, as part of the FACT Festival d’Art et Créations Trans.
2019
The artists propose an artistic action to raise awareness of the violence and danger faced by racialized and gender-divergent bodies in a context that perpetuates patriarchy and inequality.
The situation in Latin America is critical, with threats and violations of the freedoms of non-hegemonic bodies by the States. This is an urgent call for denunciation from the most oppressed sectors, highlighting art as a fundamental tool to make these struggles visible and to keep alive the collective memory of resistance in Latin America.
This action was part of a four-day lecture series, occupying an installation space built from the remnants of the last piece by theater director Philippe Quesne, "Crash Park".
Complete performative text
"Placing other bodies, other ideas, other identities, territorialities, sexualities, forms of relating, and other ethnic-racial groups, this is a paradigm that moves away from Renaissance anthropocentrism, or rather, redefines it. Breaking down the idea of the “Man” as humanity, and thus constructing a first-person narrative from the “Oppressed Being.” The starting point is inequality, the dissident body that resists through the capacity to be resilient and transgress that placement established by the standards of the prevailing hegemony. The idea of community, which is the only possibility to move forward, to heal, and to materialize other possible horizons. In the face of the problem, seeing the possibility of something new, of creation. The escape to a physical and non-physical space that is safe to inhabit. Like the quilombos. Thinking of an island as a private space, perhaps as an oasis, is a way of inhabiting certain spaces through the creation of new horizons in other forms of existence. At the same time, creating a private island in all senses, forgetting the existence of others where the ego takes the central place would mean destroying the value of the community and being functional to capitalism. Where “passing,” or fitting in and being obedient to the majority, is conceived as a value, as the ultimate, something like a lifeline where only one person can enter. The Latin American context shows that despite the progressive results experienced since the middle of the past decade and almost all of this decade, the lack of collective memory led our societies to seek easy solutions for structural problems. This is where these new political leaders linked to the right and the far-right emerge, following this idea of the lifeline. Particularly in Uruguay, we see that despite the social advances we have built with laws that recognize historically marginalized communities, this is seen as something negative by many, introducing the concept of “populism” and a false disbelief in the democratic system, which ultimately legitimized new political figures that until recently only belonged to the religious and military spheres. Our bodies, Sudaka-racialized-dissidents, are threatened by a new neoliberal advance in Latin America, an imperialist tool that once again attacks the progress of rights and autonomy of our peoples, a resurgence of imperialism that in countries like Brazil, Ecuador, Bolivia, and Chile has awakened the population. But repression and the persecution of the uprisings remind us of the dictatorships we suffered in the '70s. Although Uruguay has been an island with the firmest Latin American democracy and an advanced rights agenda, cultural and economic colonization is threatening those achievements, which will fall not only on the laws but directly on our bodies"
NAïF
DIGITAL ART PRINTED, 110CM X 110CM
"The naivety of believing we've made it, the clumsiness of thinking it's all over, the narrative of thinking we're forever young because we came out at 25. We are the oddities, we're not paying attention and they're coming for us. They piled us into apps and social networks, we label ourselves for them, we are naïf."
2018
Naïf is a series of paintings inspired by the artist's queer sketchbook illustrations.
It seeks to challenge our hypersexualized construction of identity, often too smooth and immature, like something out of a porno Disney movie, trying to escape the hegemony of romantic love within dissent, and frequently falling into infantilized postures.
manIFestO
Travesí revolution
In 2017, Leho De Sosa, together with Erica Malunguinho, created this video art piece in Belfast, Northern Ireland, during their participation in the Outburst Queer Arts.A decolonial manifesto from the South to the North, conversations and transformations, art as a political tool always.
2017
Performer Artist: Erica Malunguinho
Video Artist: Leho De Sosa
Belfast Castle
HAPPENING
LEHO DE SOSA & DAVID LACHAPELLE
"There you go! now painting" Happenig Leho De Sosa y David LaChapelle | 2016 "In October 2016, in Montevideo, I showed my works to David LaChapelle, and he suggested that artist Stefan Meier pose as a new inspiration for my Teen Trans. series.
He then created an instantaneous happening, and LaChapelle directed the photo I took to inspire a new painting."
2016
A year later, in November 2017, I met LaChapelle in Paris and was able to show him the piece I had created inspired by our meeting in Montevideo."
TEENTRANS
acrylic on canvas, 150CM X 200CM
A series of four works that depict a group of adolescents as part of a legion of superkids who abandon their anarchic bodies. The series explores discovery, innocence, fear, courage, rebellion, and the explosion of trans youth and identity construction, addressing the theme with a strong influence from Superflat and manga.
2016
These works inspired the creation of the homonymous Manga book, created in 2017 by the artist and published in Uruguay, Argentina, and in a limited edition in France.It was exhibited in 2016 at the "Collective Exhibition, Trans Art Week" at the Centro Cultural de España, Montevideo, Uruguay, and in 2017 at the "National Queer Art" exhibition during the Diversity Week at the Argentine Consulate in Colonia del Sacramento, Uruguay.
a imagen y
semejanza
instalation
Solo exhibition at the Contemporary Art Space of Montevideo, winner of the sixth call for artistic projects by EAC, Ministry of Education and Culture

























2016
Contemporaneity, social interrelation, religious virtualism, and red-carpet-alist consumerism seemingly leave us free to choose, believe, look, and do. But fragile like paper, printable, moldable. With the ability to fly and be crushed, to wrap and ignite the fire.
I propose a look at our sticker album, influenced by contemporary Asian art, Murakami’s Superflat aesthetic, and the Peter Pan syndrome of post-dictatorship generations, the toy collecting of nerdy kids, and the Lolitas of 30.
It is inspired by my memories of the end of the dictatorship when I was five, the development of image technology, and the vision and relationship with the world by millennials.
Uruguayan neo-pop culture is a vast sea of varied and massified personalities, influenced since the 80s by technology and entertainment. It moves without much logic, sometimes it lets itself go, and sometimes it laughs. I enjoy thinking of all of us as three-dimensional paper cut-out figures, with an imprint on the outside that gives us an apparently different design, but it doesn’t manage to cover our true shape, a bit square and a bit naïf.
All the pieces are based on the same three-dimensional design. The small sculptures are made from printed paper with a digitally generated image and assembled by hand. The large sculpture follows the same form and design.
The conceptual spirit comes from collectible cutout dolls and albums from the 80s and their resemblance to current vinyl toys and papercrafts that can be bought and downloaded online.
The graphic templates are created on a virtual plane (the imagined). They were designed from the beginning to be molded, folded, arranged, and turned into volume (the rational and tangible, the likeness).
Each one with a different design, inspired by personalities from culture, popular art, different types of people walking down the street, cartoon characters, athletes, and abstractions.