The installations show an attempt to make visible and reconstruct spatial connections and presences that I have perceived in order to make them obvious to everyone. The spaces, the energy lines that run through them and the connections between things are materialised and medicated. This simply means transforming the invisible into the visible. The aim is to remedy and open up passages that function as open ways of inner crossing and as evidences that make us able to perceive the infinite bonds in which we are immersed.
Cascina I.D.E.A., Agrate Conturbia (NO), from 1 August 2020
An act of reparation based on listening and observation. MUSICA DELLE SFERE CELESTI, Letizia Cariello’s site-specific installation at Cascina I.D.E.A., stems from the act of looking and knowing how to identify the design inherent in things: her pictorial interventions on the external and internal walls of the farmhouse highlight the force fields of the architecture and its volumes. E poi c’è la musica, intesa come un modo di pensare e come un filo dietro quelle linee di forza, come una visione interiore che sta sia dentro che fuori di ognuno di noi. Music is geometry. Geometry is music. Geometry as dynamic design and therefore as music. So when Letizia Cariello looked at Cascina I.D.E.A. she saw the perfect interlocking of forms
in a treble clef of two colours: blue and red.
at I.D.E.A. Salento, painted sail tops and olive trees – 450x800x350 cm. Nicoletta Rusconi Art Projects, 2019
The work was created by tying up bare olive trees with a weave of red rope. Plants become a call to action, bringing people back to old and new thoughts.
We all need to see the bonds. Although they may be seemingly invisible, they exist and can be made visible through action: using the red rope is an act of resistance means not giving up.
“My work is about making the invisible visible, repairing possibilities, weaving and building new connections. The aching olive trees need someone who dares to take care of them: something material and immediately understandable, but extremely spiritual at the same time. The red rope that binds them means that we will pay homage to them and that all is not lost. It rebuilds connections and relationships otherwise lost, and when you dare to save connections and relationships, you are working to save the future.” Translated with www.DeepL.com/Translator (free version)
Fibreglass swimming pool, swimming pool floats (pool cm 250x120x120), San Gimignano, 2006
in Le Opere e i Giorni, edited by Achille Bonito Oliva, Certosa di San Lorenzo, Padula (Salerno), 2002
Installation, performance, painting, sound intervention and light diversion interact in the project.
A video illustrates Cariello’s preparatory work inside the cell.
The visitor’s entrance triggers a sound device that sets off a chain of noises of doors slamming in the wind, which haunts the observer all along the way.
Consuetudines are daily obligations. In the niches on the wall of the cell, 365 white sheets (donated by locals) are tightly packed. The sheets are covered with calendars, significant numbers, crosses and pencilled drawings made by Letizia Cariello while she is wearing “Le Cresime” dress in white cotton muslin, also with inscriptions and calendars: a video shows how the work was made.
In the fireplace room, in the corridor, niches, windows and grilles are closed by sheets and seven red cushions, with vegetable filling, symbolising the denial of sleep.
In the ambulatory within the mesh of the grille, a red woollen weave prevents the view and allows light to filter through.
On the first floor, in the workshop, a video illustrates a symbolic large mattress (468×494 cm), made for the final days, with pieces of canvas, pillowcases, sheets, all with inscriptions. On it is marked a sundial of a ‘lunar day’ with three pockets, the pocket can change orientation following the path of the moon’s rays between wakes. Sleep denial, self-segregation, and obsession. The denial of sleep and the centrality of the flesh are two inseparable moments.
Io, Caterina (unité d’habitation)
Siena Palazzo delle Papesse, 2001, Mixed media, exterior, 196x233x266 cm, ph. Ela Bialkovska
Site-specific installation, Viafarini, Milan, 2000
5 pulleys, red rope, shadows, measurements determined by the environment, Studio Casoli, Milan, 1999