Fidel Yordán Castro

Fidel Yordán Castro is an active and concerned artist, an insatiable investigator who does not fear the barriers that are frequently imposed by art forms. He cannot be pigeonholed in any specific genre and he could not stand being enclosed in schemes, therefore he explores the possibilities of painting, photography, video, performance, installation… His youth, put on a level with his perspicacity and artistic genius, has turned him into an unusual character, almost extraordinary, within Cuban scenery, for not all artists reach such maturity and depth as Fidel reveals in his artworks.

His field of work is wide and it usually includes a vast and extensive range of topics. Fidel is a pilgrim in a constant search for symbols to build his artistic exercise. Nevertheless, his notions about time and space, balance and universal harmony seem to become core issues that, even if they are universal, look as if they are anchored in the national context in this young artist’s creations, especially with a social connotation. It could be added to it his theoretical-philosophical precepts, models that have guided him throughout his trajectory and which are held in the philosophy of complexity which finds intimate relations with the concepts of hazard and unconsciousness.

Fidel Yordán Castro translates images of his reality through signs and symbols; his artworks always reflect his concerns and questions. He also uses quotations, metaphors, irony, and ambiguity as conceptual strategies to build his discourse. Fidel Yordán is a stubborn alchemist, a maker of structures that require all of the onlooker’s intelligence to be dismantled.



  • Fidel’s work whose is almost entirely devoted to the exercise of painting, continues to solidify.
  • Fidel Yordán Castro who is looking for the constant development of the qualities and severity the genre demands, is becoming one of the most important Cuban visual artists dedicated to create the most experimental art.
  • Esta interesante propuesta pictórica, en la que el medio pintura es llevado al límite de sus posibilidades de representación; una especie de vuelta, o guiño, a la obsesión vanguardista por el movimiento, que en el caso de Fidel se traduce, o se resuelve, en una poética de la fuga, en un escurrirse de las formas hacía un punto de succión, de escape, de transformación de la materia, incitándonos a pensar en algo así como la existencia de horizontes paralelos…
  • To assume creation as a conscious act of self-improvement, of constant searches stemming from present demands, has been the maxim of one of the young artists who are writing the most recent pages in Cuban art: Fidel Yordán Castro.
  • Aunque no es este un artista que podamos situar en rígidos encasillamientos en lo que a medios de expresión respecta. Es así como, estas obras, que explota solo una de las aristas de su obra creativa, se vincula a su producción anterior a partir de la concepción instalativa. Cada cuadro es de por sí una pieza portadora de sentido, mas, en su mayor parte, son susceptibles de una lectura otra si se observan desde la relación orgánica que en muchos de ellos se establece.
  • Cada triángulo, cada rostro-retrato funciona como una pieza independiente; mientras que la unión de los diez triángulos configura una muy rara pero sugestiva escena en la que unos seres extraños, aunque humanos, parecen pujar por implosionar las estructuras que limitan su –y nuestra– existencia.
  • This is an interesting pictorial proposition in which the contemporary Cuban visual artist Fidel Y. Castro with great virtuosity takes the painting media to the limits of its possibilities of representation.
  • These triangular paintings are an interesting pictorial proposition in which the contemporary Cuban artist Fidel Y. Castro with great virtuosity takes the painting media to the limits of its possibilities of representation.
  • The thread linking up his entire oeuvre is to be found in the communion of the artist and the object-art and in the depth of his thinking –with no detriment to aesthetic qualities– underlying in each piece. From there on, he develops a diversity of discursive lines with the purpose of exploiting the plurality of ways and processes within his reach, to finally converge in a common point that, far from announcing itself as an epitome, becomes the genesis of new lectures.
  • These triangular paintings are an interesting pictorial proposition in which the contemporary Cuban artist Fidel Y. Castro with great virtuosity takes the painting media to the limits of its possibilities of representation.
  • Escorzos es un conjunto que museográficamente se puede montar de muy diversas maneras. Cada triángulo, cada rostro-retrato funciona como una pieza independiente; mientras que la unión de los diez triángulos configura una muy rara pero sugestiva escena en la que unos seres extraños, aunque humanos, parecen pujar por implosionar las estructuras que limitan su –y nuestra– existencia.
  • Fidel Y. Castro is gifted with an acute ability to develop a diversity of discursive lines with the purpose of exploiting the plurality of ways and processes within his reach, to finally converge in a common point that, far from announcing itself as an epitome, becomes the genesis of new lectures.
  • Pero esta vez estamos en presencia de un ejercicio de expresión auténtica. Expresión de una noble preocupación que, si bien no es el primero a quien atañe, Fidel la canaliza de una manera muy personal. Me refiero a la cuestión de la trascendencia del ser y de la lucha del hombre por perpetuarse y hacerse presente más allá del tiempo, sobreponiéndose al olvido.
  • Asumir el ejercicio de la creación como un acto consciente de autosuperación, de constantes búsquedas desde los imperativos de la actualidad, ha sido la máxima de uno de los jóvenes artistas que escriben las más recientes páginas del arte cubano: Fidel Yordán Castro.
  • Asumir el ejercicio de la creación como un acto consciente de autosuperación, de constantes búsquedas desde los imperativos de la actualidad, ha sido la máxima de uno de los jóvenes artistas que escriben las más recientes páginas del arte cubano: Fidel Yordán Castro.
  • En cada una de sus obras subyace una de veras notable profundidad de pensamiento; desde luego, nunca en detrimento de lo estético propiamente dicho, y son en su totalidad resultado de la comunión artista/objeto-arte, en este caso planteada a partir de una línea discursiva que apela a nuestra facetas más espirituales. A partir de aquí es que Fidel explota la multiplicidad de procedimientos y recursos que tiene a su alcance, partiendo de un presupuesto conceptual ya fundado.
  • What makes a work of art paradigmatic is that it reflects or embodies those very features that mark contemporary art most distinctively. The outstanding work of Fidel Y. Castro is an example of that.
  • The contemporary artist Fidel Yordán Castro’s paintings and drawings push the genre, often upending conventional expectations.
  • An extraordinary craftsmanship prevails in all aspects of the Cuban contemporary artist Fidel Yordán Castro’s work, and the fineness of his drawings is equally superb.
  • Contemporary art is a post-conceptual condition arising from three recent events in the visual arts: the broad acceptance of the idea that any materials, and not just traditional ones used in drawing, painting, and sculpture, can be put to use in a work of art; the broad acceptance of conceptualism, understood as a theory of art claiming that a work of art is the contingent embodiment of an idea or concept; and the broad acceptance of the idea that contemporary works of art embody the working out of these two points, resulting in their transcategorial condition, wherein paradigmatic works consist of elements from different mediums or spheres, unified by some governing idea.
  • The Contemporary Art Gallery Avistamientos presents some of the most exciting new works produced by the most talented and noted young Cuban artist of this generation.
  • Contemporary art is a post-conceptual condition arising from three recent events in the visual arts: the broad acceptance of the idea that any materials, and not just traditional ones used in drawing, painting, and sculpture, can be put to use in a work of art; the broad acceptance of conceptualism, understood as a theory of art claiming that a work of art is the contingent embodiment of an idea or concept; and the broad acceptance of the idea that contemporary works of art embody the working out of these two points, resulting in their transcategorial condition, wherein paradigmatic works consist of elements from different mediums or spheres, unified by some governing idea.
  • An extraordinary craftsmanship prevails in the outstanding work of the young Cuban contemporary artist Fidel Yordán Castro; the fineness of this drawing is strikingly superb.