Lidzie Alvisa

Untitled, from the series El tiempo, 2002

Acrylic box, pins and digital print, 40 x 60 x 5 cm.


  • Lidzie makes her irruption into the 21st century with a different visuality. It was around these years that her work showed considerable qualitative impulse when she stopped appealing to the traditional crafts like engraving and drawing and broached new languages like installation and photography.
  • 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.
  • The Cuban artist Lidzie Alvisa doesn’t cease to experiment and place herself in the polemic crossroad of the new and different in contemporary visual arts.
  • Sin dudas, estamos ante una artista que cala profundo haciendo gala de ese sexto sentido que como mujer creadora posee. Canaliza sus habilidades en propuestas que, muy bien emplazadas en el hic et nunc, operan con los resortes del arte contemporáneo y se traducen en proposiciones caprichosamente sólidas, resultado de una madurez artística incuestionable.

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.

In 1989, having finished studies at the San Alejandro Academy of Fine Arts, she continued her professional education at the Higher Institute of the Arts (ISA) in Havana. There she develops a conceptual production whose challenge is based on finding an alliance between theoretical premises and the material realization of the piece. She revalidates esthetics and traditional procedures, as well as questions conventional approaches to the consumption of art by the public, attempting to involve the viewer in an intellective way. The subversion of pure retinal pleasure and the resistance to an “easy digestion” lead her progressively to establish an analytical connection with new semantic levels in her pieces […]. 1

[…] Lidzie Alvisa makes her irruption into the 21st Century with a different visuality. It was around these years that her work showed considerable qualitative impulse when she stopped appealing to the traditional crafts like engraving and drawing and broached new languages like installation and photography. Despite the fact that she had already been working on the last one, it was then that she granted it more relevance, particularly due to the sculptural breadth she gave to it […]. 2

 

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

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