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Lot Essay
Eseguita nel 1962 ed esposta nella trentaduesima Biennale di Venezia nel 1964, Piccoli settori è un esempio brillante della calligrafia astratta che definisce la pratica di quest'artista italiana. Suddivisa in otto segmenti uguali, ogni pannello fluorescente presenta un disegno di forme interdipendenti e geometriche che, nonostante l'alleanza formale, presentano un squilibrio cromatico. Secondo Germano Celant,'La pratica di Accardi è una pittura dei segni sfrenati, una pittura alla ricerca del caso estremo fra il razionale e l'irrazionale, fra il positivo e il negativo i suoi labirinti dimostrano un magnetismo sensuale, coltivando un fermento che si presta a un agglomerazione dei materiali e colori - illimitato, strutturale, e ambientale' (G. Celant, citato nel comunicato stampa, Sperone Westwater, 2 Marzo 2015 https://www.speronewestwater.com/exhibitions/carla-accardi/installations ]).
Executed in 1962 and included in the 32nd Venice Biennale in 1964, Carla Accardi's Piccoli settori is a vibrant example of the abstract calligraphy that came to define the Italian artist's practice. Divided into eight equal segments, each fluorescent panel presents a pattern of geometric interlocking forms that, despite their formal alliance, present a pattern of geometric interlocking forms tha, despite their formal alliance, present a chromatic imbalance.
According to Germano Celant, 'Accardi's [work] is a painting of unbridled signs, a painting in search of the extreme instance between rational and irrational, between positive and negativeHer labyrinths display a sensual magnetism, cultivating a ferment that tends toward an agglomeration of materials and colours-limitless, structural, and environmental' (G. Celant, quoted in press release, Sperone Westwater, accessed 2 March 2015 [https://www.speronewestwater.com/exhibitions/carla-accardi/installation s]).
Executed in 1962 and included in the 32nd Venice Biennale in 1964, Carla Accardi's Piccoli settori is a vibrant example of the abstract calligraphy that came to define the Italian artist's practice. Divided into eight equal segments, each fluorescent panel presents a pattern of geometric interlocking forms that, despite their formal alliance, present a pattern of geometric interlocking forms tha, despite their formal alliance, present a chromatic imbalance.
According to Germano Celant, 'Accardi's [work] is a painting of unbridled signs, a painting in search of the extreme instance between rational and irrational, between positive and negativeHer labyrinths display a sensual magnetism, cultivating a ferment that tends toward an agglomeration of materials and colours-limitless, structural, and environmental' (G. Celant, quoted in press release, Sperone Westwater, accessed 2 March 2015 [https://www.speronewestwater.com/exhibitions/carla-accardi/installation s]).