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Cuba Arte Contemporáneo, Galería Avistamientos | Contemporary Cuban Art, Avistamientos Gallery Cuba Arte Contemporáneo, Galería Avistamientos | Contemporary Cuban Art, Avistamientos Gallery
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Lidzie Alvisa

Lidzie Alvisa is an organically materialist artist. Society is the leitmotif that alters her creation. Flesh and human body, along with the antinomy pleasure/pain, are the most frequent tropes in her images. Her procedure stars from photography and its manipulation. She usually develops her work in the field of installation, although she has also experimented with the possibilities of drawing and engraving.

In her artistic work the naked body is represented as a bunch of sensations, or even better, a sensor of cultural nature phenomena. It is accompanied by signs of aggression and their correlative impressions, always mordacious, of suffering. The body attracts, just as a powerful magnet would do it, the metallic thorns of a shattered crown. Before her pictures, it is almost impossible to forget the tortuous, merciful and magnanimous story of the Christians’ great redeemer. It seems that sin is not extinct. It seems its manifestations and consequences are immanent in us.

Such metaphoric figure strongly condensed in the network of symbols that Alvisa is ready to build, expresses the sacrifices and tribulations that come with everyday existence, our vulnerability and the finitude that defines and torments us as mortals. But the allegory of pain is also presented as enunciation of the disturbing and slippery figure of pleasure. Not in a sexual connotation, not as experience, but as an abstraction. The torture of the thorns, just like in Prometheus’s epical sacrifice, is unchanging and humdrum; it is repeated every day with the same intensity. That is the reason why Alvisa recreates it at the same time as an extraordinary atonement, as a rhythm that gives life, sense and sustenance.

Alvisa strives to lead us through the multiple analysis of human existence as a cultural phenomenon. To do so, she empties history, memory and presence of their mythological contents, so they are devoid of their sublime and Dionysian quality. Her dialect is the chaste figure of the absence of epical contents, a sign of present-day non-commitment with modern culture’s great redeeming stories, with the myth of a glorious past and ecstatic future.

It is true that a certain tone of complaint seems to appear in this artist’s poetry, which is associated to conditions and discourse about gender. There is no doubt, the naked bodies of her artworks are definitely feminine; there are not few the allusions she makes to women. But this must be understood as an indicator of self-reference.

It cannot be denied that, without being intentional or objective, she manages to replace the classical redeeming hero’s magnanimous figure for that one of a sacrilegious heroin, or even more, anti-heroine, which articulates the stories of redemption, settled in the glorious figures of Prometheus –provision–, and Christ –salvation–, in the body of sin –fatal, curious, seductive Eve, condemned to a dosed and warned pain. But her poetry is primarily human; and we must remember that humanity has the appearance of a woman.

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  • Lidzie Alvisa canaliza sus habilidades en propuestas que, muy bien emplazadas, operan con los resortes del arte contemporáneo y se traducen en proposiciones caprichosamente sólidas, resultado de una madurez artística incuestionable.
  • She possesses an attractive visual body of work, boosted by constant renewal and the urgent need to experiment with new languages that have taken her from engraving and drawing to photography and installation with an approach where the borders of those art forms dilute. In that unceasing search she has introduced conceptual proposals that allow certain hilarity throughout her entire artistic production: body, time, memory, words.
  • Undoubtedly we are in the face of an artist that delves deeply, showing off that female creator’s sixth sense she possesses; one of the artists whose are writing the most recent pages in Cuban art: Lidzie Alvisa.
  • La galería de arte cubano Avistamientos adquirió las piezas de Lidzie Alvisa en tributo a Van Gogh hace años, luego de ver en ellas un discurso convincente y atractivo sobre el arte y la sociedad.
  • Van Gogh’s paintings have a resonance in Cuban art that shows strongly in the work of Alvisa. Her look into one of the master’s iconic images is spot on.
  • But Lidzie Alvisa does not cease to experiment and place herself in the polemic crossroad of the new and different in contemporary visual arts. Over and over again she thinks of proposals that will be consistent in conceptual terms; that is why she focuses on matters to which she had never paid attention. In each one of her series she presents the human body from dissimilar points of view, from the most intimate to the most universal from a part to the whole. That is the case of Carrera de triple filo (2007-2012), where she insists in representing a part of the body to create new restlessness in the viewer, now using themes as familiar as power relations and homosexuality.
  • She establishes an order where the minimum, the fragment, the intimate, are given not only by the condition per se of the woman-creator –as otherness– but also in the treatment of that threshold at symbolic levels (that goes beyond the hierarchy of gender). While she opens doors of critical confrontation, she cautions and materializes an intention of revealing to the audience Las trampas del interior (The Traps Within).
  • She possesses an attractive visual body of work, boosted by constant renewal and the urgent need to experiment with new languages that have taken her from engraving and drawing to photography and installation with an approach where the borders of those art forms dilute. In that unceasing search she has introduced conceptual proposals that allow certain hilarity throughout her entire artistic production: body, time, memory, words.
  • The contemporary Cuban artist Lidzie Alvisa doesn’t cease to experiment and place herself in the polemic crossroad of the new in contemporary visual arts. For the Havana Biennial she made one of the most celebrated exhibitions, Estado de archivo.
  • To participate of art from the feminine condition and projection, even when in that the stereotype of women as an emotive and sentimental being do not be denied, is today, more than ever, a politic position, an act of resistance and critic against the imposed values of artisticity and artistic genius.
  • Sin dudas, estamos ante una artista que cala profundo haciendo gala de ese sexto sentido que como mujer creadora posee.
  • Valiéndose de enfoques que se apartan de criterios ortodoxos, conecta con la tradición de artistas mujeres como el caso de Marina Abramovic, Ana Mendieta, Cindy Sherman y Nan Goldin, que han gestado en la historia más reciente un ensayo trasgresor de lo femenino, el cuerpo y la sexualidad.
  • Lidzie Alvisa canaliza sus habilidades en propuestas que, muy bien emplazadas, operan con los resortes del arte contemporáneo y se traducen en proposiciones caprichosamente sólidas, resultado de una madurez artística incuestionable.
  • One of the most ambitious and modern works of art exhibited in the Havana Art Biennial, Estado de archivo by Lidzie Alvisa, an artist that doesn’t cease to experiment and place herself in the polemic crossroad of the new in contemporary visual arts.
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