intergenerational forms

Becky Beasley was born in Portsmouth, England (1975), and she lives and works in Hastings, England.

Becky Beasley graduated from Goldsmiths College, London, in 1999 and from The Royal College of Art in 2002.
Her “sculptures and photographs, as mute and minimal as they appear, unexpectedly open onto literary worlds.”(Christy Lange, Frieze Focus).
Beasley produces objects, photographs and texts which are typically informed by a deep engagement with literature — specifically in the past ten years certain writings of William Faulkner, Herman Melville, Bernard Malamud and Thomas Bernhard— and historical research.
She is interested in the ethics of dialogue and how to inhabit the spaces, works and lives of others in tandem with ones own through art.
Her practice is also concerned with spatial experience, in particularly the interior. She has developed a practice which explores the image and the limits of language. Through an abstracted grammar of the everyday, she sources personal experiences and literary references for moments of complexity and ambiguity.

Beasley’s work has been featured in solo exhibition internationally including, Tate Britain, Serpentine Gallery Pavilion (live work), Spike Island, Leeds City Art Gallery, Towner Art Gallery, 80WSE (Steinhardt, NYU) New York, South London Gallery (live work) and SKUC Gallery, Ljubljana. Group exhibition participation includes Bluecoat, Liverpool; Whitechapel Gallery, London; Kunstverein Munich and La Carte D’Après Nature, National Museums Monaco (Touring to Matthew Marks, New York), as well as three Arts Council Collection touring exhibitions, In a dream you saw a way to survive and you were full of joy, curated by Elizabeth Price; British Art Show 7: In The Days of the Comet and Structure and Material (with Claire Barclay and Karla Black).
Her work has been reviewed in the New York Times, Artforum, Art Monthly, Frieze, Art Review and Flash Art International. Beasley was on the ICA Artist’s Advisory Committee in 2012 and was nominated for the Max Mara Prize in 2009. She has had five Paul Hamlyn Nominations.

Carla Accardi was born in Trapani, Italy (1924).

She attended the Academy of Fine Arts in Palermo. In 1946, she moved to Rome with Antonio Sanfilippo where she met Pietro Consagra and Giulio Turcato.
In 1947 she completed her first abstract painting, entitled Scomposizione. In March of the same year she launched the Forma Group (“Forma 1” would be the name of the first and only issue of the magazine-manifesto) with Attardi, Consagra, Dorazio, Guerrini, Perilli, Sanfilippo, and Turcato. In 1948 she took part for the first time in the 24^th Venice Biennale, as well as in the exhibition “Abstract Art in Italy” at the Galleria di Roma. In 1954 she met Michel Tapié, whose support marketed a watershed moment for the artist. The French critic placed her among the protagonists of his theory of art autre, alongside Burri, Capogrossi and Fontana.
The 1960s were a time of major stylistic changes. Much more vivid and varied tones of color reappeared, while the sign underwent a change in structure. The first chromatic works were shown at the Parma Gallery in New York and at the New Vision Center Gallery in London with a presentation by Lionello Venturi, in 1961.
In 1964 she was invited with a personal room to the 32^nd Venice Biennale.
These years saw the first works created on sicofoil, a transparent plastic material used for the first time for art. Works from this period include Tenda (1965), Ambiente Arancio (1967) and Triplice tenda (1969-71). The following decade was dedicated to continuous experimentation with sicofoil. Colors became less strong, with pastels sometimes dominating. By the mid-1970s the sicofoil was completely transparent, in twisting braids that emphasized the support and made the frame the protagonist (in a studied “ostension of the support and the frame” she would say, which certainly has a flavor touching on the conceptual).
In 1976 was presented Triplice tenda at the 37^th Venice Biennale in the “Arte Ambiente” section. In the 1980s, Accardi returned to canvas, which she left raw: it would be animated with colored signs, which had become very large, inside of which there might be just one color. In 1983 she exhibited at the Pinacoteca Comunale
in Ravenna and at the Padiglione d’Arte Contemporanea in Milan; while in 1988 she was once again invited with a personal room to the 43^rd Venice Biennale, where she presented large-scale works. The next year she was represented by two historical works at the “Italian Art in the 20th Century” show at the Royal Academy of Arts in London. In 1994 a far-ranging retrospective open at the Castello di Rivoli; in the same year she took part in the exhibition “The Italian Metamorphosis 1943-1968” at the Guggenheim Museum in New York. Among the many solo shows and retrospectives, two big anthological exhibitions opened in Paris Parigi, at the Musée d’Art Moderne de la Ville de Paris (2002) and in Rome, at the MA-CRO (2004).
In 2011 the show “Carla Accardi. Segno e trasparenza” opened at the Fondazione Puglisi di Catania; for this occasion important historical works were exhibited on the two great floors of Palazzo Valle. In the meantime two volumes of the monumental catalogue of her works were released, curated by Germano Celant, published by Charta and Silvana respectively. Carla Accardi passed away in Rome on 23 February 2014, but interest in her work has continued to grow, as evidenced by the 2020 solo show Contesti, at the Museo del Novecento in Milan, the group show at the MAXXI Senzamargine Passaggi nell’Arte Italiana a cavallo del Millennio from October 2020 to January 2022, and by her inclusion in the 59^th Venice Biennale.
In 2023, a retrospective exhibition on the 1970s took place through a restricted series of works placed in dialogue with the historical settings of the Museo Correr in Venice. On the occasion of the centenary of his birth, an exhibition is planned at the Palazzo delle Esposizioni in Rome in 2024, in which more than one hundred works will be collected, chosen with the idea of highlighting both the first appearances of Accardi’s inventions and presenting the works in which the artist expressed himself most radically and which proved seminal in the national and international context.

Sheila Hicks was born in Hastings, Nebraska, United States (1934), and she lives and works in Paris, France.

Sheila Hicks graduated with a BFA and MFA from Yale University. She was one of just three women to receive a bachelor of fine arts degree from the School of Art in 1957. In May 2019 the artist received an honorary degree from Yale University. She lives and works in Paris, France. Hicks participated in the 57th Venice Biennale, curated by Christine Macel (2017); the 20th Biennale of Sydney (2016); Glasgow International (2016); Weaving & We, Hangzhou Triennial of Fiber Art (2016); Whitney Biennial (2014); and São Paulo Biennial (2012).

The artist was awarded the Smithsonian Archives of American Art Medal in 2010 and was granted an Honorary Doctorate from the École des Beaux-Arts, Paris in 2014.
Recent solo presentations include the major retrospective Sheila Hicks, a little bit of a lot of things, LOK, Kunstmuseum of St. Gallen (2023), SHEILA HICKS: OFF GRID, The Hepworth Wakefield, Wakefield (2022), Thread, trees, river, MAK Museum of Applied Arts, Wien (2020); Campo Abierto (Open Field), The Bass Museum of Art, Miami (2019); Seize, Weave Space, Nasher Sculpture Center, Dallas (2019); Reencuentro, Museo Chileno de arte Precolombino, Santiago (2019); Lignes de Vie, Centre Pompidou, Paris (2018); Free Threads, Textile and its Pre-Columbian Roots, 1954-2017, Museo Amparo, Puebla (2017); Sheila Hicks: Apprentissages, Festival d’Automne à Paris, Musée Carnavalet and Nanterre-Amandiers, Paris (2016); Sheila Hicks: Material Voices, Joslyn Art Museum, Omaha (2016); Sheila Hicks | Why Not, TextielMuseum, Tilburg (2016); Foray into Chromatic Zones, Hayward Gallery, London (2015); Sheila Hicks – Hors Normes, Sculptures Textiles, Passage de Retz, Paris, France (2010); Sheila Hicks: Weaving as Metaphor, Bard Graduate Centre for Studies in Decorative Arts, Design and Culture, New York (2006).
Hicks has created monumental site-specific works for the Ford Foundation Headquarters and Federal Courthouse in New York; The Duke Endowment in Charlotte, North Carolina; King Saud University in Riyadh, Saudi Arabia; and the Institute for Advanced Study in Princeton, New Jersey. Hicks has also produced installations for the Grande Rotonde at the Palais de Tokyo in Paris (2014-15) and as part of the outdoor exhibition Voyage d’hiver in the gardens of the Palace of Versailles (2017).
Hicks’ work is featured in a number of prominent collections including Tate Gallery, London; Victoria & Albert Museum, London; Stedelijk Museum, Amsterdam; Centre Pompidou, Paris; Louis Vuitton Foundation, Paris; Museum of Modern Art, Tokyo; Museo de Bellas Artes, Santiago; Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; The National Gallery, Washington D.C; Art Institute of Chicago; Pérez Art Museum, Miami; The Jewish Museum, New York; and the Joslyn Art Museum, Omaha, Nebraska.