LETIZIA CARIELLO WORKS
LETIZIA CARIELLO O N “ A R T ” A S I T I S I N H E AV E N
I draw, swim and pray from the age of five. I believe in the work of Angels.
Letizia Cariello was born in Copparo, into a family originally from Naples that has been tied to sculpture for over two hundred years. Before turning her focus to art, she graduated in History of Art at the University of Milan and graduated in Painting at the Brera Academy, where she now teaches Artistic Anatomy. She works for the cinema in Italy and the United States. Her works can be found in public and private collections around the world. She is represented by Galleria Massimo Minini in Brescia, Italy. Letizia Cariello’s work is centered on translating the themes of repetition into physical places and concrete objects. Separation and isolation, as well as the realm of obsession, are explored through relationships between internal and external space, the emotions, the world of botany or of the stars, photography, video and drawing.
The work of Letizia Cariello explores, through different media, the themes of body, time and their relationship with objects. They investigate the relations between interior and exterior space, affections and the spiritual quest with particular attention to the Angels. These arguments characterize her performances, her installations and her photographic production. Particular attention is dedicated to the theme of time, which is explored through the writing of the “calendars”: a long sequence of numbers and letters that represent an exercise of Western meditation intended to materialize time in a perceivable form. The use of the red wire both in the embroidery and in the installations embodies the attitude of listening and assists the artist toward the reality that surrounds her.
CALENDARS LETIZIA’S SENSE OF TIME
Letizia Cariello explores time through the Calendars, for which she is known. Calendars remained constantly in her production: written in pen or pencil, on bedsheets or on various backings and objects, including Cariello’s own skin, engraved on marble, on copper and steel, the “calendar” takes the form of a long sequence of numbers and letters that are the initials of days and corresponding dates in weeks to come. Letizia Cariello’s calendars are always focused on the future, starting from the day when the artist undertakes the performative exercise of writing and mental concentration on the time ahead. They represent a form of meditation on time and its true existence, an attempt to give a three-dimensional body to the intangible nature of time, made tangible, or at least pursued, by writing out a name and a date. The many errors that appear in the sequences mark the artist’s moments of involuntary mental detachment during the exercise. Cariello, true with her sculptor instinct, started then to give a tactile tridimensional touch to the black squared shapes that appears here ant there in the lines of numbers and letters, by means of embroidering them : so that they resemble kind of new-brail-code arranged and mixed up within the day and numbers code. Letizia Cariello catches time off-guard: she waits for it, accompanies it, remains with it while it arrives − is − will be. Time passes at each breath and every human being rarely is fully aware of it. Cariello, with her artistic action, encourages to notice it − Mr. Time − and not to be afraid of it, not to cage it, not to underestimate it, to became friend of it. Time is a gentleman and always unveils the truth. The artist, through the archaic theme of the calendar, discloses a stratagem of reality contemplation that, through a question about time, demands to the spectator an answer on the actual existence of the reality.
“THE ABSTRACTNESS OF TIME WORRIED ME, SINCE I COULDN’T PERCEIVE ITS EXISTENCE. WE CAN SEE IT ONLY THROUGH T H E S I G N T H AT I T L E AV E S , T H E R E FORE WE CAN SEE IT WHEN IT HAS PA S S E D. ”
ON THE LEFT
Calendario Gemma Unique piece Ink and embroidery on framed linen sheet, 120 cm, 2016 ABOVE
Sassi Ink calendar in various dimension 2012
«I write calendars by pen on sheets or I engrave them on iron, copper or marble. I write the name of the week days and the dates numbers; always of future time, the coming one, the one I succeed in thinking. When I do not succeed in it anymore, I cease and the work is completed». The calendars begin with the day in which the artist starts the artwork, a performative exercise of writing and mental concentration, oriented to the coming time. The circled days are the ones in which the artist is on holiday or the ones in which she experiences family parties. The distance between the lines is not calculated, but produced in an organic way, as the concentric rings inside tree trunks. She works free-hand and takes till three or four months before being able to move the pen away from the sheets. They are portions of life, signs of
the expired time. The calendars are remains under which the artist materializes the time, they are maps to catch the light which relentlessly and imperceptibly passes on things, with such a slowness which suggests that real life is here and now, just as our breath. The mysterious code of the calendars marked Cariello’s work since its very beginning. As a matter of fact, one could say even before. The Calendar can be considered today a hallmark in Cariello’s research and language. A hallmark rooted in a performative attitude of her way of thinking, inseparable from the drawing attitude the artist kept for the act of writing. Since then, the Calendar represented the way she found to grab hold of time in the attempt of bringing it from the foggy kingdom of the inner space to the physical visible and touchable dimension of ink marks traced onto a surface in the outer space.
GIPSOTECA GIANLUIGI GIUDICI TEMPORARY EXHIBITION NOVEMBER, 2 / DECEMBER, 10 2016
Letizia Cariello’s works were the protagonist of the first temporary exhibition organized by Artrust in the space of the Gipsoteca Gianluigi Giudici, in Lugano. From November 2nd to the December 10th, the exhibition presented to the public a synthesis of Cariello’s artworks, with some of the most significant pieces of her work including sculptures, photographs, tapestries, and her famous “calendars”, with which she explores the themes of the body and of the time and its relationship with objects through the use of different media techniques.
“I WRITE THESE SIGNS ON THE BODY BECAUSE WHEN THE CALENDAR MANIFESTS ITSELF, I WRITE IT DOWN WHEREVER I FIND MYSELF”
ON THE LEFT & ABOVE
Body pieces Lambda print on aluminum 2001-2006
PICCOLO CALENDARIO ROTONDO #3 Triennale di Milano / W.Women in Italian Design / APRIL 2, 2016 - FEBRUARY 19, 2017
Piccolo calendario rotondo #3 Ink and embroidery on framed sheet, 2016
SCARPE DA NOZZE
Scarpe da nozze Ink writingand red wool bounded shoes in plexiglas case, 2001
CARILLON OPERA FOR STRINGS Letizia Cariello redeems from AXA-Art two damaged cellos, a sounding board and unusable arches, that were not only without the body but also devoided of the same nature: the ability to create sound, to give harmony. Letizia has carefully fixed them with steel and red velvet, giving them a new voice. It is no longer the hand of the musician, who uses bow to touch the strings and produce the sound, but it is the music itself, which vibrates from the reborn tools’ womb. A new harmony, which arises from a different nature: the recorded sound is a product from the space from the rings of Saturn and of the Sun. The melody spreads whenever rotated cellos return slowly to their starting point, drawing a circle. The eternal rotation of the time and the planets is materialized by a calendar engraved on a large steel disc. Carillon is a multimedia installation that comes from thoughts to help to listen the time, which is the conductor wire of Letizia’s work. The two cellos could no longer speak until they are asked to speak in another way. This is what Letizia’s work is all about: she listens and helps. The two cellos are equipped with a mechanical device that allows the public to turn the instruments through the arc of a circle, moving them by the handle and making them pivot on a point situated behind the body. The cellos emit a sound as they make their way back along the curved trajectory. They play “cosmic” music recorded in nature and immediately recognizable to the ear as a relative of the sound of the wind, waterfalls, the sea and tumbling stones. The familiar yet mysterious, archetypal, profound soundscape they produce when heard together seems to hark back to deep, ancestral sources. The overall effect is like one of a large toy/music box, in which the damaged parts are assisted by steel integrations, exactly as a truncated leg is assisted by a polished, modern prosthesis. The curved movements evoke the idea of time, which in this case is both time marked by the mechanical movement of the instruments as they return to their position and cosmic time, expressed by the sound system. With Carillon, the man plays the voice of the space.
CARILLON – OPERA FOR STRINGS LAC - Lugano Arte e Cultura
«CARILLON – OPERA FOR STRINGS I S A M U L T I M E D I A I N S TA L L AT I O N T H AT C O M E S F R O M T H O U G H T S T O H E L P TO L I S T E N T H E T I M E , W H I C H I S T H E CO N D U C TO R W I R E O F M Y WORK”
Letizia Cariello Intreview for RSI Cult +
AFTER VERMEER E M B R O I D E R I N G I N S TA N T S
In the photographical production it is possible to see another development of the theme of time by Letizia Cariello: here the artist is focused on the relationship between time and objects and physically takes care of them. “As well as in the Seventeenth century Dutch painters learned to represent the effect of the light over objects, the transformation of bodies which occurs relentlessly before our eyes at such a slow pace that we believe to observe motionless scene, the objects in my embroidered pictures extracted from real scenes over the altars, are suddenly ripped by the flow of time. The red woolen thread helps them and takes care of them, where I see fragility. The altar, like a relic, shut them away. The frames are not a surplus: they also take care of that portion of the world represented in the photos. That’s why I designed them on purpose and I do not realize a photo without a frame. Indeed, pictures are things themselves.” «I have embroidered and extracted from the real world these things, which are pulled, for a moment, out of the flow of time into the shrines. The red yarn assists and tends to them, in the points where I see their fragilities. The shrine keeps them safe. The frames are not something only added to the work: they play a part in connecting the photos to the real world. That is the reason why I have designed them in this way and therefore there are no unframed photos. Given that these photos are actually objects, I believe it is possible to look at them in slow motion, like freezing the time in a frame.»
“IT’S CALLED RESEARCH O F W H AT Y O U CANNOT FIND AS ONE HAS TO LOOK FOR IT, IT IS NOT SOMET H I N G T H AT ONE KNOWS TO BE ABLE TO FIND”
ON THE LEFT
Detail: Soggetti da ferma_Rose Unique piece Photograph with enamel detail, framed ABOVE
Exhibition at Gipsoteca Giudici, Lugano
AFTER VERMEER #ALBERELLI
After Vermeer #alberelli Embroidered photograph in a frame, 2014
AFTER VERMEER # PA N N I
After Vermeer #Panni Embroidered photograph in a frame, 58 x 43 cm 2014
A F T E R V E R M E E R WA L L GALLERIA MININI @ ART BRUXELLES 2012
AFTER VERMEER # TA Z Z I N E
After Vermeer #tazzine Embroidered photograph in a frame
ARAZZI T H E B E AT O F L I F E
Another three-dimensional expression of time in Cariello’s work is embroidery, another hallmark of her language: a three-dimensional mark, motifs of lines and dots embroidered on her white bedsheets, with or without patterns. Red dots are also the round spaces carved out on marble surfaces then filled and coloured with red lacquer. The calendars and embroideries are other forms in which time takes material shape. «The red dots are a rhythm that I visualize on the sheets and then I embroider, as a figurative heartbeat». The artist puts down the dots firstly with a thick red felt pen and embroiders them right after, one by one with a red cotton thread. Despite the pictorial appearance of the finished work, the process is - again - a performative exercise involving the entire body of the artist. No mistake is erasable from the white surface (bedsheet, marble or a photo paper): she literally projects an invisible rhythm, a sequence of dots she envisiones after having set the size of a regular distanced sequence. All the artist’s body is engaged in the process: Cariello puts the linen on the floor and then marks the dots without having to premarked them. The result is a sequence of horizontal dots rhythmically articulated. Sometimes more dots are concentrated around a small area as the eye has difficulties in shaping the “right dot”. Eyes, hands, as well as the entire artist’s body concentrate their efforts as if the action of marking down every single dot is just like the action of shooting an arrow. During this process the most involved faculties of the artist’s body are therefore eyes, hands, inner view, and the breathing system.
Exhibition at Gipsoteca Giudici, Lugano
ON THE LEFT
Arazzo dei sogni di paura Pen and red embroidery on canvas, 75x75 cm
The process of embroidering allows the artist to involve her senses in an inner space, focusing on her work. The slow movements required by her operation create a sense of repetition, following the pattern and, at the same time, project a rhythmical sequence to the viewer.
ARAZZO DEI S O G N I D I PAU R A
Arazzo dei sogni di paura Pen and red embroidery on canvas, 76 x74 cm
ARAZZO DEI S O G N I D I PAU R A
Arazzo dei sogni di paura Pen and red embroidery on canvas, 60 x 64 cm
EXERCISES @ PA L A Z Z O B O R R O M E O MILAN, MIART 2016 LIGHTING BY FLOS
S T. M O R I T Z ART MASTERS THE SPIRITS OF THE ELEMENTS
On the occasion of St. Moritz Art Masters 2012 - the international Art Walk curated by Reiner Opoku in the Engadine Valley of Switzerland - Letizia Cariello inaugurated two site specific permanent installation for the new Hotel Chesa Colani, designed by architects Bertolini and Galli. The new hall’s form and structure support the installation Steingarten (in English “Rocky Garden”), a moraine of grey-green rocks of Engadine Valley and steinless steel spheres reverberating the theme of water in the High Engadine landscape: the shining spheres on the roof resemble the effect of water running through the stones in the mountain’s stream. The Garden theme, artificial and poetic picture of the Garden of Eno, is echoed in the second installation “The wind is blowing in my direction”: five steinless steel and iron trees that line up in the front of the façade of the Hotel, give a special touch to the new building. They play in “Mi Bemolle” thanks to a device that gets activated by the wind. The blowing of the wind in the valley and across the Chesa Colani induce the side branches of the trees to touch each other: depending on the speed and on the strength of the wind, the trees release a sound created by the rubbing of the dotted part on the branches. This action produces a similar sound to that from a musical box. As the viewer is not able to figure out the timing and strength of the music, this create a sense of expectation in the observer’s imagination. The project has been developed in collaboration with the Mechatronics Department of the Faculty of Engineering at the Univeristy “Politecnico” in Turin, Italy.
“The Wind is blowing in my direction” (2012) Site specific installation St. Moritz Art Masters 2012 Five stainless trees with sound Below: Preparatory drawing
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“Steingarten” (2012) Site specific installation St. Moritz Art Masters 2012 Sq. ca. 100 600 stainless spheres and green stones from Val Bregaglia
HALLENBAD A MYSTICAL SWIMMING
«When you’re swimming, you eliminate every feeling of incumbent or rising anxiety, all sensation of cramped or difficult breathing. Your thoughts are no longer topsy-turvy, and present themselves one at a time». The Hallenbad Project is composed of distinct sections. The first one is a video installation (Hallenbad) of three films set in three different swimming pools (located in Milan, Pontresina and Sacca Fisola) and projected simultaneously on a single screen designed by the artist. The sound system is a fundamental component of this section, furnished with an autonomous capacity to communicate. Hallenbad is also a documentary (Hallenbad backstage-Pontresina), a collection of images from the backstage of Pontresina, mounted as a sort of spiritual diary of the artist: a collection of thoughts, images and sounds (music, background noises recorded on site, readings) that have accompanied - and still accompany - Hallenbad Project in its evolution. It has been recorded a compact disc edition of Hallenbad sound system (Hallenbad Sound). A series of portraits have been realized: for each location three views (front/rear/profile) in American-style mug shots of the artist prior to performance (Hallenbad Portraits). In cibachrome edition of 6 per pose + A.p. cibachromes of swimming pools (Hallenbad cibachromes) where Letizia Cariello has swum. Each original in 6 copies mounted under plexiglas. Mostly Hallenbad is a publication (Hallenbad Book/Hallenbad Book-Installation). This is more than just a book, not a catalogue or a souvenir of other sections of the project: it is structured with photos from the backstage and ‘external’ images originating in the repertory of Cariello’s memory: frames from “Barry Lyndon,” pieces of Medieval and Renaissance art, newspaper clippings and drawings.
The nature of each image presents itself with its own graphic code that makes it recognisable in the sequence when turning the pages. Hallenbad Book intends to eliminate the concept of “texts” as they appear in common usage, according to the idea that nearly the only thing that can be defined as “text” is the written word. Instead, here the truth is re-established: a text can also take visual form, musical form or psychic form. One section of the book presents the visions from three authors, texts in words, made up on the pages respecting the visionary value of the work. The catalog is accompanied by a floor installationrepresenting one-sixteenth of the project. Hallenbad project is also documented by costumes and objects produced for the film. Designed by Letizia Cariello and created by Renza Tenan with fabrics by Monica Bolzoni; in addition to three Bathing Suits, they include a special bathing cap with a built-in camera.
ON THE LEFT
EXHIBITION & COLLECTION PERSONAL EXHIBITIONS AT PRIVATE GALLERIES Studio Casoli Milano e Studio Casoli, Roma; Galleria Luigi Franco Arte Contemporanea Torino; Galleria Riccardo Crespi, Milano; Galleria Massimo Minini Brescia; Museo Pecci, Prato. INTERNATIONAL ART FAIRS AND EXHIBITIONS Massimo Minini: 40 anni di Arte Contemporanea, Museo della Triennale – Milano 2014; “Embassy goes Contemporary“ Arte giovane dalla collezione Museion Ambasciata d’Italia a Berlino, (2013) SAN MORITZ ART MASTERS (2012 e 2013); MAGA, Museo di Arte Contemporanea di Gallarate (2011 e 2012); Salone del Mobile, Milano per Stella Mc Cartney (2011); 54° Biennale Internazionale di Arte, Venezia – Casinò Cà Vendramin Caliergi (2011); Fondazione Pomodoro (2010); Biennale di Istanbul (2009); Biennale di Architettura, Venezia (2008); Elgiz Museum Istanbul (2008); MART, Trento e Rovereto (2002 e 2003); UKS Gallery. PUBLIC AND PRIVATE COLLECTIONS National Museum of Women in the Arts, Washington DC; Mint Museum, Charlotte, NC; Tony and Heather Podesta’s collection, Washinghton DC; Collezione Farnesina – Experimenta, Ministero degli Esteri, Roma; Soprintendenza per i Beni Archeologici e Demoetnoantropologici della Provincia di Salerno, Certosa di San Lorenzo, Padula; Museion/ Ar-Ge Kunst, Bolzano; Rocca di Montestaffoli, San Giminiano; Collezione Patrizia Sandretto Re Rebaudengo, Torino; Chesa Colani, Madulain CH.
POLITTICO (THE BUTCHER WOMAN)
Polittico (The butcher woman) Printing on Tanganyika wood, 120 Ă— 90 cm
M Y S I S T E R I S A L WAY S WITH ME
My sister is always with me Laser print, 120 x 140 cm, 2003
La forza della fotografia. Opere dalla collezione Museion / The force of photography. Works from the Museion collection copyright Museion Bolzano/Bozen foto Ochsenreiter
Campari Wall Installation in the Campari Headquarter Palace, Milan 2015
ON THE LEFT
Calendario Sealtiele engraving and painting on steel, 100 cm, 2012 ON THE RIGHT
Galleria Minini Personal exhibition The Butcher Woman Travel Stick
Artrust is an art company based in Melano, Ticino. Its art collection, which includes more than 2,500 pieces of modern and contemporary artists as well as thousands of antiques, is a treasure that Artrust decided to enhance and share to bring it to the knowledge of the widest audience possible. A goal that Artrust pursues with passion and enthusiasm, not only through trade, sale or loans of paintings and sculptures, but also by making the collection a source of inspiration for various activities: the organization of monographic exhibitions with the artists in the collection, the publication of art catalogs, the proposal of educational workshops for children, the rental of the exhibition spaces for private events, the collaboration and the loan of artworks to museums, foundations and associations. For some months during the year, Artrust hosts monographic and thematic exhibitions, showing the works of the artists in the collection. By opening its spaces to the public, with free entrance and guided tours, our willingness to share art is expressed at its highest levels. Artrust intent is to bring art to the widest possible audience, allowing anyone, not only experts and professionals, to know, admire and purchase the works on display. For this reason, each exhibition proposes, besides the traditional visit, an innovative way to experiment - with new approaches - the artistic path, engaging and exciting different publics. We also organize events and other related activities, always having the artist and his work as a reference and inspiration.
Werefkin, Fontana, Segantini, Giacometti, Tinguely, Picasso, Mirò. These are just some of the big names included on Artrust collection. More than 2,500 works, among paintings and sculptures, compose a large and varied collection of modern and contemporary art, which covers a time span ranging from the late ‘800 to the present days. Among the more than 300 painters and sculptors present, a particular preference is reserved to artists from Switzerland or those who have their lives intertwined with the history of our country. The collection includes a wide selection of precious pieces of silverware, with particular attention to the Russian one, and watches from the best Swiss and European tradition. Moreover, we have one of the world’s most important collection of wine tasters, with over 4 thousand pieces dating from the fifteenth century, coming mainly from France, but also from the rest of Europe and the world.
GALLERIA MININI Massimo Minini opened his gallery in Brescia, dubbed Banco, in 1973. During his early years of activity, he was involved mainly with Conceptual Art, Arte Povera and Minimal Art. He decided in the late seventies and early eighties to continue along these lines with works from some young Italian and foreign artists, including Ettore Spalletti, Jan Fabre, Didier Vermeiren, Bertrand Lavier, Anish Kapoor, Alberto Garutti, Icaro and Gerwald Rockenschaub. The gallery, however, also displayed works by figurative artists such as Salvo, Luigi Ontani, Ger Van Elk, Jiri Georg Dokoupil and Ryan Mendoza. In the mid-1990s the gallery started to focus on a group of Italian artists, such as Eva Marisaldi, Mario Airò, Stefano Arienti, Maurizio Cattelan, Vanessa Beecroft, Sabrina Torelli, Sabrina Mezzaqui, Francesco Simeti and Paolo Chiasera. In more recent years, as well as displaying works by long-standing artists Boetti, Accardi, Fabro, Paolini, LeWitt, Barry, Graham and Buren the gallery has staged important exhibitions by Yona Friedman, Roger Ballen, Nedko Solakov, Haim Steinbach, Peter Halley and Ghada Amer, and works by newcomers such as Manfred Pernice, Sean Snyder, Mathieu Mercier, Jan De Cock, Tino Seghal, David Maljkovic, Haris Epaminonda, Ariel Schlesinger, Landon Metz. The Massimo Minini Gallery has stands at major international fairs, including Art Basel in Basel, Fiac in Paris, Artissima in Turin, Frieze in London and New York, and Miart in Milan. In recent years the gallery has collaborated with a series of museums in Italy and abroad, one of its main
achievements being a collection of Italian photographs entitled United Artists of Italy, which Massimo Minini put together and is currently touring several European museums. The collection comprises portraits of Italian artists by famous photographers such as Mulas, Giacomelli, Catalano, Gorgoni, Mussat Sartor and Cresci. He has loaned long-term to the Peggy Guggenheim Collection, Venice, a large sculpture by Anish Kapoor. Increasing focus on its relations with the city of Brescia has led the gallery to organise a series of exhibitions here: “Capolavori in Corso”, Pinacoteca Tosio Martinengo, 2008-2009; “Quattro collezionisti a confronto”, Accademia Tadini , Lovere (Bergamo), 2009; “Massimo Minini: una storia contemporanea, Spazio Contemporanea”, 2011. 2013 was an important year for the gallery that has celebrated 40 years of activity with a great publication 453-page book: Massimo Minini Quarantanni. 1973-2013, published by a+mbookstore, with drawings, letters, postcards, telegrams, photographs and invitations to the countless exhibitions and adventures that have been invented since 1973. From this book a very passionate exhibition has blossomed, “Forty Years of Contemporary Art. Massimo Minini 1973-2013”, a sweeping show to celebrate forty years of Galleria Minini at Triennale Museum in Milan.
COLOPHON Catalog edited by Artrust SA
© Letizia Cariello © Galleria Minini
Detail: Calendario Gemma Unique piece Ink and embroidery on framed linen sheet, 120 cm, 2016
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© 2016 Artrust SA
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