THE ARMORY SHOW 2022

Carla Accardi was born in Trapani on 9 October 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 scheduled for April 2022.

Matthias Bitzer was born in 1975 in Stuttgart, he lives and works in Berlin (D).
He graduated from Staatliche Akademie der Bildenden Künste Karlsruhe, Germany in 2004.
His artistic practice combines drawing, sculpture and painting creating experience spaces with strong references to history and intellectuals and a deep reflection on their identity, in which the viewer can immerse himself. The development of his work shows itself in the increasing complexity of the installations, maintaining their focus on the construction of memory and the reconstruction of reality. His research involves literary personalities, writers and their characters who have frequently slipped into outsider positions. Fascinated by the relation between the invisible and the real, Bitzer layers symbolic fragments and fractured forms on top of one another as citations. In a new inspection of classical modern art from today’s perspective, the artist combines portraits and geometric constructions in his drawings, paintings and sculptures. Through the analysis of this multiplicity of figures, Matthias Bitzer’s work investigates different looks on reality and through his more and more complex abstract patterns he gives the viewer a visual translation to this fragmentary dimension, to these different points of view, to possible gazes. Through paintings, sculptures and mural drawings, all strictly connected to each other, he thinks the exhibition space as an autonomous body, where you can “consider the works as a kind of symbolist translation or a decoding of reality that tries to make visible something that was invisible before” as the artist says.
His works are part of Public collections at LACMA, Los Angeles, USA, MARTa Herford, Herford, Germany, Städtische Galerie Karlsruhe, Karlsruhe, Germany, Geraer Sammlung, Gera, Germany, CCA Andratx, Mallorca, Spain, and Rosenblum Collection & Friends, Paris, France.

Armin Boehm was born 1972 in Aachen. He lives and works in Berlin (D).
Armin Boehm paints fictitious and spatially impossible scenes, based on urban layouts and architectural constructions, that are meant to evoke the inner human condition.
In an interview by Gaston La-Gaffe on FAD Magazine, the artist said “The painted surface is as vulnerable as our skin and looking at it is reaching our emotional system very directly”. Due to his tough personal path he is attracted by the painted surface, which is able to deal with the unconsciousness and emotions of the human being.
The images, which sometimes appear to be aerial views or perpetually receding landscapes, explore the idea of natural and manmade borders in geographic surfaces.
His most famous works are large-scale paintings, constructed using complex combinations of materials including fabric, oil paint, pure pigment, metal, and sand.
A majority of Boehm’s paintings have dark palettes and depict nocturnal views with small sources of light; in preparation for exhibiting his paintings, Boehm has been known to paint the walls gray and dim the lights to deepen the experience of darkness. Other subjects have included interiors, smashed trees, bucolic scenes, and car wrecks.
He received a series of Awards in 1998, Studienstiftung des deutschen Volkes (D) and in 2001, Cité des Arts, Paris (F).

Ambra Castagnetti was born in 1993 in Genova and she now lives and works in Milan.
She is a visual artist that works with sculpture, video, and installation.
After the bachelor’s degree in Anthropology, she graduated in Visual Arts at NABA (Milan) with a short film curated by Adrian Paci.

“Through different mediums such as sculpture, painting, installation, and video, Ambra Castagnetti explores the complex relations between the body and physical and political environment, through a political glance never lacking an implicit dimension of criticism. The evocative power of the images helps to penetrate the complex relation between poetic and political, between reality and fiction, creating a fluid imaginary. The attraction for the body always comes with a wider attraction for the living, where the animal, the mountain, water, desert, earth and sky are called to participate in a unitary narration full of intimacy” (Adrian Paci).

In her work, Castagnetti attempts to dispel and release the feelings of disquiet that arise from dealing with everyday life. Focused on natural, feminine, and animal forms, the artist redraws her feelings towards reality: the body and the mind, and the relationship between the two, become central elements. Ceramic and metal shield a soft, fragile material that would otherwise be destined to dissipate and is unrecognizable in their reflection.

Selected recent shows and projects: Palazzo Braschi, Roma (2023), Fondazione Pini, Milano (2023), New Galerie, Paris (2023), Francesca Minini, Milano (2022), La Biennale di Venezia, Venezia (2022), Manifattura Tabacchi, Firenze (2021), Eastcontemporary, Entrevaux (2021), Palazzo Monti, Brescia (2021), Mana Contemporary, New York (2020), Art Drive In, Brescia (2020), Casa Testori, Milano (2019), Villa Necchi, Milano (2019).  In 2020 she joined the residency programmes in Palazzo Monti, Brescia and Manifattura Tabacchi, Florence.

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.

New York-based artist Landon Metz has garnered critical attention for his ability to imbue a spare language of abstraction with visual dynamism and sense of movement. His paintings have the capacity to expand and deal with space serially, while being site-responsive rather than site-specific. Metz’s painting practice is marked by a great sensitivity to site and scale and increasingly incorporates performance and sculptural approaches to activate the space.
Strategies of display are central to Metz’s visual language and his installations often incorporate elements of rhythm and repetition. Multi-panel paintings are frequently presented in his work as diptychs and triptychs, which he sometimes installs abutting one another, reaching into or wrapping around corners. He also produces shaped canvases that mimic the abstract shapes that appear in his other paintings. As Metz has observed,
“My work is largely about breaking down polarities, and I think that’s apparent in the way I present space. It’s about negotiating between setting and subject, public and private.”

Metz’s work has appeared in solo exhibitions in Norway, Italy, Denmark and Canada. In 2014, he was the artist in residence at the ADN Collection in Bolzano, Italy. In 2018, Metz was the subject of a solo exhibition at Museo Pietro Canonica in Rome. Metz was recently featured in the group exhibition Blue, at The Nassau County Museum of Art in New York, and Greffes, curated by Pier Paolo Pancotto at Villa Medici in Rome. Metz was born in Phoenix, Arizona and currently lives and works in New York.

Francesco Simeti (b. 1968, Palermo, Italy) is an artist known for his site-specific installations, which aesthetically present enchanting scenes that reveal a more complex subtext upon closer inspection. His work often appropriates photographs from newspapers and magazines to raise questions about the role of images in contemporary discourse.
Public Art is a fundamental aspect of his practice, he has worked with Percent for Art and Public Art for Public Schools in NYC, the Multnomah county in Oregon and has created permanent additions to subway stations in Brooklyn and Chicago.

He has had solo exhibitions at venues such as Assembly Room, New York, (2019); Open Source Gallery, New York (2017); Galleria d’Arte Moderna, Palermo (2012); and Artists Space, New York (2009). His work has been included in group exhibitions at Museo Civico di Castelbuono, Palermo (2019); ICA Singapore (2017); Palazzo Reale, Milan (2016); and Castello di Rivoli Museum of Contemporary Art, Turin (2014). He has also exhibited work at the Triennale di Milano (2014 and 2013). Simeti lives and works in New York. He works with the gallery Francesca Minini in Italy.
He is currently a resident at ISCP – International Studio & Curatorial Studies, New York.