It was a desire to confront myself with color, as the truth of painting; all the black and white had been a radicalization; I wanted to find a color that was as radical as black and white.
Integrazione rosso nero, 1958-60 casein on canvas 129,8 x 195,5 cm
From the 1950s onwards, Carla Accardi's stylistic code became more and more fluid and automatic; sign writing expands, expands and imposes a chromatic reduction where the expressionistic gesture does not exist, since the self is kept away from it. The clean slate smacks of self-determination (feminine and feminist) and affirmation. Integrazione rosso nero, 1958-1960 is among the most significant works of the period. Figure in the selection of paintings presented in the personal exhibition held from 23 May 1961 at the Parma Gallery in New York, introduced in the catalog by Lionello Venturi. The exhibition is reviewed by Brian O ’Doherty in the New York Times on June 30th.
I can't stand the repetition of figures that don't hold tension, while I love repetition as recovery.
Carla Accardi at the XXXII Venice Biennale, 1964 with Gastone Novelli, Robert Rauschenberg, Michele Cascella and Giuseppe Santomaso
The consecration takes place in 1964 with the personal room at the Venice Biennale, where Integrazione rosso nero is among the ten canvases on display. Presenting it in the catalog is Carla Lonzi, an Italian writer and art critic, involved in the feminist movement that arose in the 1950s. "Accardi contrasts the ordering experience of temporal succession to Pollock's instant and tangled 'duration'. The signs, experimented for a long time in a kind of graphic monomania... now appear simplified and grouped according to an inventory that corresponds to an immediate statistical structuring of the artist". The partnership between Accardi and Lonzi will be in the sign of feminist pioneering thanks to the commitment to "Female Revolt" and to the common reflection on the concepts of heterotopia and otherness with respect to a world declined in the male.
Brochure of the exhibitionAccardi 1955-1964, organized at the Galerie Stadler in Parigi, from 16 March to 17 April1965.
Carla Accardi, Giulio Paolini and Luciano Fabbro photographed by Anna Piva mimicking their respective works in 1965.
The attention that Michel Tapié turns to Accardi’s work contributes to strengthening relations with the international context, leading her to show his whites on blacks in important solo and group exhibitions held in the major avant-garde galleries in Paris, Rome, Osaka, Pittsburgh, Tokyo, Düsseldorf and London. The 1965 solo show at the Galerie Stadler in Paris, an exhibition space around which the artists followed by Tapié gravitate, marks one of the important stages in Accardi’s exhibition itinerary.
Si dividono invano from 2006 is a large-format painting of similar compositional structure, although chronologically later, present in the Farnesina Collection, the rich collection of works of art of the highest profile, established in 2001 by the Italian Ministry of Foreign Affairs. Among the authors represented are Afro, Burri, Dorazio, Sanfilippo, Vedova.
The photo refers to the exhibition organized in 2012, depicting the painting inside the Farnesina; at the time, paintings and sculptures were displayed in the offices, in the rooms reserved for the Minister and in the reception rooms in close dialogue with antique furnishings and contemporary design objects.