LA CEGUERA IS THE VISION OF FELIPE ALARCÓN ECHENIQUE.- “La ceguera” will reveal that the painting of the Spanish-Cuban Felipe Alarcón Echenique is constructed as a biblical and profane breviary of a cosmos that is vertically staggered from the surface of the earth to a sky that remains neutral. Each piece is an episode that sets the scene. And at the end they become multiple stages under specific plastic configurations. 

- Felipe Alarcón

35.La Jungla Afrocubana. Mixta lienzo (D
Renacer de Cultura 1 130 x 160 cm mixta
Utopia Medieval. Mixta cartulina. 50 x 7
17.Guido Llinas y el tambor Yoruba del A
Renacer de Culturas 2 195x 130cm , mixta
Paraiso salvaje.   Mixta cartulina.  70
Los rostros de la Guerra diptico. Mixta
Exambles 1 mixta cartulina 100x70cm 2015
El tren de Europa 100x70cm mixta Cartuli
Africa tierra de todos. Mixta cartulina.
Alerta Feminista. Mixta cartulina. 70 x
Basquiat, el soldado eterno mixta cartul
Conquista Afro Medieval. Mixta cartulina
La Danza de Oya 70x 50cm mixta cartulina
La Balsa de Piedra mixta cartulina 70x 5
Apocalipsis Total mixta lienzo 100x81cm

Below are links to some videos with Felipe Alarcón Echenique  





C.V. Felipe Alarcón Echenique

Contemporary Painter




Painter, engraver, draftsman and writer. Member of VEGAP and the Spanish Association of Painters and Sculptors of Madrid. President of the Association of Ibero-American Creators (A.C.I.)


He was born in Havana City, on March 21, 1966.


Graduated from the Academy of Fine Arts "San Alejandro".


Professor of Artistic Education (1987).


He taught as a teacher of Plastic Arts (1987-1995 in Primary and Basic Secondary).


He studied at the Instituto Superior de Arte ‘José Varona’ (1995-1998) in Bachelor of Art Education.


Study-Workshop 1996-1997 C / Obispo, Havana (Cuba).


E-mail: aechenique2003@yahoo.com


Web: www.f-alarconart.com





Work owned by the Museum of the City of Old Havana, Havana (Cuba), 1995.


Work owned by the Oncological Hospital of Havana (Cuba), 1996.


Work owned by the International Press Center, Havana (Cuba). 1997


Work owned by Galería Catarsis, Madrid (Spain), 1998


Works owned by AUPEX, Popular University of Extremadura, Badajoz (Spain), 2000.


Works owned by the Citizenship Foundation, Mérida (Spain), 2000.


Work owned by the Cuban Embassy in Madrid (Spain), 2002.


Work owned by the Duplex Group in Barcelona (Spain), 2003.


Work owned by ACEAS (International Association of Plastic Artists) Barcelona, ​​(Spain). 2003


Work owned by the Palacio de Congresos y Exposiciones de Madrid (Spain). 2004


Graphic Edition owned by ARTE Y NATURALEZA, Madrid (Spain). 2005


Work owned by Galería José Lorenzo, Santiago de Compostela (Spain). 2005


Work owned by the City of Baeza, Jaén. (Spain). 2006


Work owned by the Museum of Drawing and Illustration in Buenos Aires. (Argentina), 2007


Works owned by the Pepe Rubianes Foundation, for the annual presentation of the theater award. Barcelona, ​​Spain). 2014


Work owned by the Katz & Bach Galerie Richter, Berlin (Germany), 2015


Work owned by the Ex-Cuban Minister of Culture and adviser to the President, Mr. Abel Prieto, Havana (Cuba), 2015


Work owned by the La Rioja Group and its president José Castro, Luxembourg. 2015


Work owned by the Restaurant 'Enjoy Root' of Roa, Burgos. (Spain), 2015


Work owned by the Cervantino Museum of El Toboso, Toledo. (Spain), 2015


Work owned by the Hispanic Center of Culture (Permanent Exhibition Fernando Ortíz), Havana (Cuba), 2015


Work owned by Summa Editorial, Madrid (Spain), 2015


Work owned by the Jean Monnet University of Saint-Etienne (France), 2015


Permanent collection at the Campos de Dulcinea Winery with the title 'Dulcinea Onírica'. El Toboso, Toledo (Spain). 2015


Work owned by the University of Navarra, Faculty of Philosophy and Letters, Grupo Siglo de Oro Español. Pamplona (Spain).


Book Cover CAP CAPES (A tour of Spanish literature and culture) edited by the Jean Monnet University of Sant Ettienne (France), 2015


Permanent Collection Museo-Casa Cultura de Casablanca, Havana (Cuba), 2015


Work owned by the Institute of Modern Letters, Uex. Cáceres (Spain). 2016


Work owned by the Citizenship Foundation. Mérida, Badajoz (Spain). 2016


Work owned by Centro Cervantino CXXI. Quintanar de la Orden (Toledo). Spain 2016


MURAL work, 'The synergy of knowledge'. JFK Public Library, Hialeah, Miami (Florida) 2016


Work owned by The Office of the Historian of Havana. Havana (Cuba) 2018


Work owned by the Sanmartiniano Museum. Lima (Peru) 2018




Main Individual Exhibitions




2019 - Miscegenation Dialogues. Jean Monet University, Saint Ettiene (France)

            - Rebirth of Utopia. Medrano House, Gregorio Prieto Room.

              Argamasilla de Alba (Ciudad Real), Spain

            - DNA Cervantes, The Work. Civic Center 'Príncipe de Asturias', Quintanar de

              La Orden (Toledo), Spain




2018 - Mestizos, From Aponte to Belquis Ayón. Old Flour Factory,

             Albacete. (Spain)

           - Mestizos, From Aponte to Belquis Ayón. PopArt Gallery. Madrid Spain).

           - Recreations of Don Quixote Cervantino. Instituto Cervantes de Lyon.


            -Recreations of Don Quixote with Cuban DNA. Center

             Hispanic American Culture. Havana Cuba).

            - Cervantino DNA, recreations of Felipe Alarcón (Traveling Exhibition).

              King's House. Arganda del Rey, Madrid. (Spain)

            - Guernica, The Indomitable Beast. Kultur Etxea. Gernika, Vizcaya (Spain).

            - ADN Cervantes (traveling exhibition). Sanmartiniano museum. Lime



2017 - 'Cervantes and visions of Persiles'. Gregorio Prieto de la Casa Gallery

              Medrano. Argamasilla de Alba, Ciudad Real (Spain).

            - Family photo (Traveling Exhibition). Flour Factory, Albacete


            - Photo of fa


“La ceguera” will reveal that the painting of the Spanish-Cuban Felipe Alarcón Echenique is constructed as a biblical and profane breviary of a cosmos that is vertically staggered from the surface of the earth to a sky that remains neutral. Each piece is an episode that sets the scene. And at the end they become multiple stages under specific plastic configurations. From them, the references that have emerged are vehicles that lead us to visual findings, findings that are defined in the history of beings, gods and devils submerged in planes of extension that are incardinated in a pandemic of blindness and hallucination. Identifiable, they invoke a medieval imagination of vulnerable fortresses. To a figuration that refers us to ideas and perceptions, to dreams and chimeras about a reality that suffers in and by itself. It also refers us to precise geometric arrangements such as circles, spheres, ellipses, etc., wrapped in shades that cover the organic forms until completing their physiognomies, sometimes under the leadership of the Saramago numen. Throughout this palimpsest aspects are noted. rituals such as limbs, heads, a crucified Christ, animals, bodies, devils, castles, churches, etc., symbolizing ideas of suffering, redemption and end, with which we attend a whole ontological manifestation and reflection that is embodied in an aesthetic visual closely linked to the hapless present time without a future design.

Gregorio Vigil-Escalera of the International and Spanish Associations of Art Critics (AICA / AECA)

The mirror forgets the sound and the night.

By José Lezama Lima


The work of the Cuban artist Felipe Alarcón is, without a doubt, a great palimpsest of insinuations and expanded copulations that amuse themselves in the same game, a kind of orgiastic intercourse that violates the purity of forms to allow oneself to “penetrate” again and again by the outburst of madness and the dissent of instrumental and Cartesian reason. A trait, as a sign of identity, is evident in these works of his: the desire to compact the exponential greatness and the ambition of the world in the humility of a pictorial-transvestite support that celebrates the epiphany of the conjunctions and the vocal vertigo of the bolero. There is a clear predisposition towards baroque erotica that allows you, with grace and licentious gestures, to speak about that being that we are. It is a reflection, if you will, about that rare ontology of ours that is articulated in the fragment and in the random and furtive finding, in the encounter and in the loss, in the mathematics of calibration but more than anything in alchemy of illusions and the spectral.


These polyphonic frameworks - with a particular taste for open work and the carnivalization of referents - that the artist well tries at the epicenter of his pieces, are a fine construction (fabled, perhaps fictionalized) on that cultural reality of origin and, more above all, about that state of hyperbolic excitement that the unique and uniform model of that cultural mechanism that substantiates the neo-baroque pose and the glamorous (and transvestite) gesture lacking in interest once the mirror is broken. His work seems to want to say something, something further or more here, about that legitimate plurality that is based on the singularity of facts and things. Hence, in part, this obviously clear obsession with “the fragment” and “the fracture” in the context of a kaleidoscopic dance that forges narratives about the subject's loss of location (or encounter) in the axiological fabric of contemporary culture, about the deviation of the psyche or about the deviation of the "specific Freudeans". The idea of ​​acquiring the map, with its physicality, in the face of the designs of "irreverence" and "anorexia" of this world, seems to be an (almost unconscious) impulse that runs through the web of insinuations and digressions orchestrated in the hermeneutical locus of these pieces.


Although it is true that at first glance the work dispenses a multitude of retinal maneuvers and juggles depending on the formal finding, of the construction per se, it is also true that these compositional licenses with a morphological accent usually prioritize, overflow strategies, the expansion and "rescue" of the peripheral, in view of which the notion of postmodern dialogism that sees pastiche as empty irony or the illusion of parody as grimace is tremendously useful. Perhaps for this reason, for his propensity for the delight of the form never subtracted (but neither abducted) by the concept, his poetry mocks the dense reflexivity of that art doomed to the excessive empowerment of socio-semiotic or anthropological vectors, twisted over and over again until the formula is tired. On the contrary, it is tempting for her, the high degree of self-awareness and poetic satisfaction exhibited -in their insinuating textuality- Baroque narratives understood as stories that do not hide their grammar and are made with joy to the artifice and metalanguage that is thought, constantly revises and deconstructs by virtue of prolongation and spectacle.

Like the rest of the real, of all the real, the very idea of ​​objectivity is dead. Today we are witnessing its fall, its decline and dissent, the same as that hegemonic phallus that modernity celebrated until the essentially arbitrary declines. In this way, “the dense”, “the solid”, “the strong” of all significance and of all referentiality, gives way to the relevance of “the noble”, “the malleable”, to the lesser of the narratives and the anti-canonical writings. It is curious to note how then, in the face of the logic of culture that substantiates the value of all that finding of a peripheral-lateral sign, the aesthetic audacity of these stories detached from the norm and that inhabit the shadow of the text is revalued among artists high. The debatable prevalence of a single model of culture, of high culture, has made pilgrimage the steps of a consecratory ideology that encrypted its goals in the idealization of modern paradigms. Contrary to this, the artists accept the tension and the Dionysian fruition of other observations or other less important revelations in terms of gravity and authority. Magical texts, subaltern religions, mythology, and the popular voice of knowing ones excommunicated by the scientific and academic norm, are revealed as reservoirs or troughs of high speculative density with respect to that same source.

It is very perverse the feeling that art and artists roam the margins of a society that has become so drunk with so much subordinate, decolonial, pos, feminist, gay, ethnic, anti-globalization discourse, etc ... given that the more On the other hand, it celebrates the collapse of the canon. On the contrary, new canonical formations are erected that centralize alterity and turn what had previously been born under the sign of "the lateral" into hegemonic. Just as the text is denied, the rhetorical domain is also profited: writing, apocryphal reading of the text and almost schizophrenic verbal production are promoted. It is then from every logical and presumable point of view that the arrival of that "expanded condition" that had remained trapped in the dense lethargy of hibernation, brought with it an arbitrary and exponential use of the exceedances (and violations) of the limit category . To the same extent that the orthodox model is recognized as lethal and predatory in the face of the force of horizontal claims and lapses, in the same way a greater skill is verified - on the part of art and artists - when it comes to replacing that. schemes by others in which the fabulation prevails and penetrates the orders of exclusive and segregationist dominion. The abstract functionalism of the great constructions and stories (and their limits) is violated in favor of the legitimizing property of the “expanded figure”. Felipe Alarcón's pieces symbolize, in this sense, a search and a loss. They are, by force, the reconquest of the paradox and its laudable persuasive dimension by means of deception and the eroticism of vision. Then, with an epistemological dimension that overcomes some of those tobacconists predetermined by history and language, Felipe's aesthetic essay revalues ​​surface erotics in an act of expansion of the old presumptions of style and closed language. Instead of betting on a centered unity, it underlines and celebrates the loss of integrity, of globality, of ordered systematization. The new figures come to be "the instability of the specific", "the poly-dimensionality of the referent", "the saturation of meaning". From there, from that place of ambiguity that prefers the nonspecific to the Cartesian precisions, its will to recognize or re-encounter itself by opposition, denial or overcoming of the previous values ​​is consolidated.


Finally, these pieces seem to allegorize the very ontology of that gnostic space –introduced by Lezama Lima to speak and defend his epistemology of the American– whenever these tensions are reconciled and all boundary dimensions are exceeded. That space is, by force of the previous or future configurations, the place of the expanded alliances, of the suspensions and elevations of the logos. It is, without a doubt, a better place, a place where illusion survives the subversive and defeatist logic of skepticism.



Andrés Isaac Santana

Critic and essayist. Author of numerous books on contemporary art. Correspondent in Spain for the ArtNexus Magazine.