The exhibition on Carla Accardi, art between feminism and society
More than an exhibition, it is a tribute to one of the most important Italian artists of the 20th century, the one now open to the public at Correr Museum of Venice: Carla Accardi. The Seventies: Sheets. Curated by Chiara Squarcina and Pier Paolo Pancotto, created in collaboration with the Accardi Sanfilippo Archive in Rome, it will be visible until 29 October.
An ambitious exhibition project, declared right down to the title, conceived to give life to a large installation designed specifically for the imposing Hall of the Four Doorsone of the few environments of the New Procuratie which has kept the original structure intact, dating back to the end of the 16th century, and where 15th-century wooden sculptures are exhibited. Together with one selection of works from the Lenzuoli cycleon which Accardi has worked since the 1970s, there is also a nucleus of sculptures, conceived in the same period but created at the beginning of the new millennium.
The initiative, promoted by the Correr Museum, falls close to the centenary of the birth of Carla Accardi (1924-2014), Sicilian by origin, Roman by adoption and who has always had a privileged bond with Venice, since 1948, the year in which the first of a long series of participations in the Biennale dates back, the last in 2022. “This it is a preparatory and dutiful choice – he explains Clare Squarcinamanager of the Museum Activities Area of Venice, co-curator of the exhibition – For keep the attention on women’s art in the Civic Museums high. Because there are voices that have remained silent and that deserve to be brought to the public’s attention. Carla Accardi’s, visionary and always looking to the future, was strong, at times uncomfortable but crucial for the artists’ conquest of visibility”.
The luminous power of colour, one of the distinctive features of Carla Accardi’s works, is also the absolute protagonist in the Sheets on display, many of which for the first time, made on cotton sheets for domestic use, of various sizes, and painted with for cloth. “She loved this expressive method, perhaps not so popular in terms of exhibition and criticism – explains the curator Pier Paolo Pancotto – In reality, having reopened this window on a historical period of Carla’s work, the 70s, is of an exceptional density, professionally and individually. It is no coincidence that it is the years that coincide with both his greatest commitment to feminism, and to his friendship with Carla Lonzi“, with which foundstogether with Elvira Banotti, the Women’s Revolt groupinspirer of the first Italian feminist groups.
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