Lidzie AlvisaUntitled, from the series Imanes, 2002
Acrylic box, pins and digital print, 59 x 38 x 5 cm.
[…] 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.”