A Last Supper of Queer Apostles - Classic Text | Alexandria
A Last Supper of Queer Apostles, by Pedro Lemebel, is not a literal meal, but a potent performance art piece and photographic series, a provocative reimagining of Leonardo da Vinci’s iconic painting infused with the subversive politics of queer desire and resistance during the waning years of the Pinochet dictatorship in Chile. Often simply referred to as "La Ultima Cena," the work isn't simply parody; it is a reclamation of sacred space for those marginalized and erased.
The piece debuted in the late 1980s, a period rife with political unrest and cultural censorship in Chile. While exact documentation of early performance dates is fragmented due to the clandestine nature of artistic resistance during martial law, photographic evidence places it clearly within this turbulent period. This context is crucial; the brutality of the regime, the pervasive homophobia it encouraged, and the very real threat of violence against queer individuals served as the backdrop against which Lemebel constructed his powerful intervention. The act of queer bodies openly and defiantly occupying the space of a religious icon held profound subversive weight.
Lemebel’s "Last Supper" resonated immediately, initially within underground artistic circles and later gaining wider recognition as the dictatorship crumbled and freedom of expression expanded. Its impact resides in its deconstruction of societal power structures. The twelve apostles, traditionally portrayed as masculine figures, are transformed into embodiments of marginalized identities – transvestites, drag queens, and individuals marked by poverty and social ostracization. Critics lauded its radical politics, while religious conservatives condemned it as blasphemous. The photograph of the performance became an enduring symbol of queer resistance and the power of art to challenge oppressive regimes. It invites questions about who is considered holy, who is worthy of representation, and which narratives are privileged in historical and cultural discourse.
Today, Lemebel’s "A Last Supper of Queer Apostles" continues to shock, inspire and provoke debate. It is displayed in galleries and studied in universities as a landmark example of performance art and queer activism. Its enduring relevance lies in its powerful message of inclusion and resistance. What unspoken stories lie beneath the surface of familiar narratives, and how can art illuminate the experiences of those historically silenced?