Text by Massimo Minini

Galleria Massimo Minini, Brescia
Francesca Minini, Milan

September 22 – November 17, 2018

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The gallery has insisted I write a press release for Carla Accardi.
Two exhibitions in two spaces, mine in Brescia and Francesca's in Milan, for a single project.
I gave it a few tries, before realizing that Carla simply doesn’t need a press release.
Everybody already knows who she was, and, frankly, I wouldn’t have anything to add to what is already common knowledge.
As a painter she was resolute and as person kind, yet never shy.
She always stood her ground; she did not hesitate to leave Trapani for Rome when she understood that the capital would offer better opportunities for carrying on her work.
She kept a very high standard for her beautiful painting right up to the end, even managing to surpass her companions from the Forma group.
Both for her work and as a figure, Carla acted as a link between her generation and those that followed, thanks to the interest of her painting and to her personal openness and approachability.
Young in her approach and style, her work has become emblematic of an era, a bridge that from the post-war period leads right to the Arte Povera and Conceptual Art movements, a world that has embraced her work with great respect and attention. Carla is the queen of Italian art.


Galleria Massimo Minini, Brescia 
Francesca Minini, Milan 
Galleria Massimo Minini, Brescia 
Francesca Minini, Milan  
Galleria Massimo Minini, Brescia 
Francesca Minini, Milan 



Courtesy of Galleria Massimo Minini, Francesca Minini and Archivio Accardi San Filippo
Photos by Andrea Rossetti

“Fantastic gardens, hybrid creatures, bouquets of epiphytic stories, synthetic fragrances and mythological machines, but also colours, crystals, songs and infrasounds which could be intended for us humans as much as for our contemporaries: plants, animals, minerals, breaths and chemistries, waves and bacteria, are just some of the ingredients that make up the porous landscapes of this 15th Lyon Biennale.
The artist takes into consideration some well-known artists of the last decades, insinuating doubt into certain dominant narratives, forcing us to look differently at or adjust our focus on existing works. At Istituto Svizzero, Milan
In the 19th and early 20th centuries, artists like Cézanne and Matisse took up this motif to express evolving notions about the body, changing ideas about pleasure, one’s relationship to nature, and how the longing for the new (in art) potentially renews a broader and more inclusive understanding of what it means to live with or against societal changes. Greene Naftali, New York
Antoine Levi, Paris
Galerie Perrotin, Paris
Peres Projects, Berlin
C L E A R I N G, New York
HangarBicocca, Milan