Artists list

Angelo Accardi

Urban landscapes fixed as if the artist were using a hidden camera and which – screened through particular pictorial interpretations – become the expression of an interesting and complex personality. The art by Angelo Accardi describes, investigates and feeds itself with the styles and pressures of contemporary living. Within his works, the symbol turns into the key to hidden reality. Through a mild and disturbing ambiguity, a dualism between appearance and meaning, Accardi leads us inside pieces of art where everything moves: from the vague outlines of any detail, to the trails of light representing speed, to the evident and nervous drawing gestural.

Angelo Accardi was born in Sapri, near Salerno, in 1964. After a brief experience at the Academy of Fine Arts in Naples, at the beginning of the 90's he opened his own studio in Sapri, starting a research upon a kind of figuration characterized by social background. He participated into many personal and group exhibitions, both in Italy and abroad. He works and lives in Sapri.

  • 2014 Arte Genova, Genova, Galleria PUNTO SULL'ARTE
  • 2013 ArtVerona, Verona, Galleria PUNTO SULL’ARTE
  • 2013 Bergamo Arte Fiera, Bergamo, Galleria PUNTO SULL’ARTE
  • 2012 ArtVerona, Verona, Galleria PUNTO SULL’ARTE
  • 2012 City Life Galleria Di Nardo Chieti
  • 2012 Ri-flesso Urbano Galleria PUNTO SULL'ARTE Varese
  • 2011 Metropolis Galleria Spazio 6 Verona
  • 2011 Misplaced, Padiglione Italia 54a Biennale di Venezia
  • 2011 Misplaced, Galleria Conarte, Savona
  • 2011 Old Cars Today, Galleria Frida Arte, Bari
  • 2011 Shut-Out, Centro Studi Cappella Orsini, Roma
  • 2011 Mayday Mayday, Spazio Nessun Dorma, Bari
  • 2011 Rich!, Gallerie Bongiovanni, Arte Fiera, Bologna
  • 2009 Movimenti Urbani, Parentesi Studia, Vittorio Veneto
  • 2009 Art in Mind, The Brick Lane Gallery, London
  • 2009 Waypoint 38°6'N/15°39'E, Castello Aragonese, Reggio Calabria
  • 2009 Mayday Mayday, Gallerie Bongiovanni, Bologna
  • 2009 Mayday Mayday, Aranciera Semenzaio S. Sisto, Roma
  • 2009 Waypoint 41°7'N/16°52'E, Fortino S. Antonio, Bari
  • 2008 Underpressure, Galleria Frida Arte, Bari
  • 2008 Fragments, Contini Arte, Milazzo
  • 2008 Fragments, Castello Svevo Normanno, Mesagne
  • 2008 Pop Link-age, Kunstart, Bolzano
  • 2008 Correaltà, Mediateca Provinciale, Matera
  • 2007 Underpressure, USB Galerie, Salzburg
  • 2007 Underpressure, Millares Art, Madrid
  • 2006 Tra Oriente e Occidente, Sala della Ragione, Asolo
  • 2006 Galleria Italia Grand Theatre Gallery, Shanghai
  • 2005 Fracture, Kunstmesse of Art, Innsbruck
  • 2006 Fragments, Galleria Container, Sassuolo
  • 2006 P.R., Santopacato Zone, Pistoia
  • 2004 Conversion, Immagina Arte, Reggio Emilia
  • 2004 Human Collection, Studio Arte 53, Rovereto
  • 2004 Enjoy the Silence, Art Point Black, Firenze
  • 2003 Speed Generation, Galleria Verrengia, Salerno
  • 2003 Città, Palazzo Esposizioni, Budapest
  • 2003 Catalunya L16 Art, Barcellona
  • 2002 Flash, Battaglia Art Studio, Milano
  • 2001 Vicious, Spazio Arte Pizzini, Rovereto
  • 2001 Human Collection, Robert Kwon Gallery, Vancouver
  • 2000 Borders, Spazio Arte Pizzini, Rovereto
  • 1999 Off, Robert Kwon Gallery, Vancouver
  • 1997 Matrix, Robert Kwon Gallery, Vancouver
  • 1996 Italian Job, Klaus Lea Gallery, München
  • 1995 Emotional Life, Klaus Lea Gallery, München
  • 1993 Omologati, Manzoni Arte Studio, Milano
  • 1993 Umanemozioni, Rossetti e Pini Area Arte, Roma
  • 1990 History, Centro Storico, Matera

Daniela Croci Silvuni

Angelo Accardi is an artist with an interesting and complex personality, peculiar of those people who keep looking for new sensations, go beyond appearance, hunting for hidden symbolical values, origin of truth. Born in Sapri (near Salerno) in 1964, he began his artistic path showing a tendency towards the representation of "figure", narrated with strong expressiveness. After a short period attending the Academy of Fine Arts in Naples, he faced a deep crisis related to his artistic identity, which lasted some years leading him to abstract production. This period of inner reflection allowed him to formulate the thoughts and pictorial vision characterizing his present activity: the symbol became the key to the doors of hidden reality, which leads to the dimension where profound, sealed, unavowable meanings reveal themselves. To tell about the parallel world where man lives, sometimes without being aware of it, the symbol uses recognizable forms. Through this mild and disturbing ambiguity, a dualism between appearance and meaning, Accardi leads us inside pieces of art where everything moves: from the vague outlines of any detail, to the trails of light representing speed, to the evident and nervous drawing gestural. It is an urban stage where incomprehensible facts happen, where airplanes take off, land, fly over, appearing like containers of a humanity carried like livestock. We can't see the passengers, but we perceive that defenceless and obedient human beings are hoarded inside the enormous airplane. Disconcertment, worry, loss of identity, as provoked by the immense bow of a ship plowing a metropolitan street among skyscrapers, thus deprived of any majesty and significance. Airplanes and ships appear as instruments in the hands of unknown entities, casting shadows which eliminate any kind of individuality and controlling a trapped humanity unable to rebel, petrified by fear and anxiety.

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Indeed the airplanes and ships, as the only elements of dissimilarity and presences "out of context", compared to the metropolitan conformity, generate reflections through this incongruence. Observing Accardis' pieces of art, questions turn into disconcertment: as it happens when we notice ostriches coloured in green, turquoise or red which, out of all proportion, bewildered stroll the streets of a city, being at the same time proud owners of an unnatural land, still "out of context". Some of them howl, but their cries resound within a deaf and mute world, inhabited by unaware and unconscious human beings. Signs, scratches, carved words, colours pouring like sweat and effort, represent a kind of humanity without face and identity, automaton of "modernism", constantly marching towards nothing. Perhaps only the ostrich with its huge body, amazing feathers, little brain, the big evident eye, can embody human reality. Thus, through disturbing images - since "out of context" - which stimulate reflection, the condemnation of discomfort becomes more significant.

selected works