Lidzie Alvisa

Untitled, from the series Imanes, 2002

Acrylic box, pins and digital print, 59 x 38 x 5 cm.


  • Paso a paso, Lidzie nos involucra en una anécdota de sí misma, a través del empleo de múltiples recursos conceptuales y métodos de representación. En su obra, lo femenino se expresa como una figura que opera en los márgenes, más allá de la razón, en un orden donde lo mínimo, el fragmento, lo íntimo, están dados no solo por la condición per se de la mujer creadora, como alteridad, sino también en el tratamiento de ese umbral a niveles simbólicos (que va más allá de la jerarquía de género). Mientras abre puertas de confrontación crítica, advierte y materializa una intención de revelar para la audiencia Las Trampas del interior.
  • To comment on Lidzie Alvisa’s artistic production becomes an imperative when speaking of the most controversial contemporary Cuban art. It is not an apology, merely making a just and deserved analysis of one of the living Cuban creators with the most prolific work both regarding quality and quantity.
  • Availing herself of approaches that move away from orthodox criteria, she connects with the tradition of women artists such as Marina Abramovic, Ana Mendieta, Cindy Sherman and Nan Goldin, who have cultivated, in very recent history, a treatise that breaks the rules of the feminine, the body and sexuality.
  • 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.

[…] To comment on Lidzie Alvisa’s artistic production becomes an imperative when speaking of the most controversial contemporary Cuban art. It is not an apology, merely making a just and deserved analysis of one of the living Cuban creators with the most prolific work both regarding quality and quantity […].

[…] Her art goes from personal experience and invocations to the domestic space, many times combined with self-representation, starting with her initial wooden fretwork and up to her most recent series. Undoubtedly, this modus operandi has granted her a dimension within the gender theme, particularly when the feminine element has also been present as fragment and otherness. However, restricting her work to this militant feminist interpretation would be counterproductive, particularly because Alvisa assumes a more human than political standpoint. Although her starting point is the crudeness of a personal situation, her intention is to make her living experiences transcend to a universal plane […]. 1

Lidzie Alvisa is one of the Cuban visual artists who, with a critical accent, has conjured up her work as a diary of life. From an autobiographical perspective, her exposition has been a contributor to redefining intimate space as a matrix of action for culture, history and society. Availing herself of approaches that move away from orthodox criteria, she connects with the tradition of women artists (such as Marina Abramovic, Ana Mendieta, Cindy Sherman and Nan Goldin), who have cultivated, in very recent history, a treatise that breaks the rules of the feminine, the body and sexuality […]. 2

 

1. Julienne López, “Speaking of Intimacy… A Circumnavigation of Lidzie Alvisa’s Work,” Artecubano, no. 1, 2015.

2. Darys J. Vázquez, “Dialogues from Within.”