In Difference and Repetition (1969), Gilles Deleuze invests repetition with a creative value. Underlying this counterintuitive conception is a precise ontology that identifies difference, understood as the principle of unlimited variation, as the essence of things themselves. The surface of the painting thus ceases to be an inert receptacle and becomes an active field of forces that self-structures according to its own immanent logic. 
 
Image: Carla Accardi, Verderosso, casein tempera on canvas, cm 96.7 x 146, Collezione Intesa Sanpaolo Gallerie d'Italia - Milano, 1963  
© Carla Accardi by SIAE 2024. Photo Paolo Vandrash, Milano. Courtesy Archivio Patrimonio Artistico Intesa Sanpaolo

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Auditorium - Palazzo Esposizioni Roma

Admission via steps in via Milano 9a