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.
video, 6′, 2021
salvaged and reassembled tile rubble, 2022
Walls indicate boundaries, Boundaries are vital, they indicate crossings
and directions, spaces of respect and not just prisons. All that
is vital it must be flexible and reversible, otherwise it is dead. Walls indicate inner space and outer space. As you inhale and exhale, you go in and out.
The rubble is walls of a bygone time, remnants of demolished buildings.
Sometimes open prisons, sometimes what remains of a bombing raid. There are many types of bombing. Also inner bombardment. We should learn that resurrected things reassemble: this teaches observed life in Nature and Spirit. I picked up some rubble, along walks in the countryside. Remnants used to plug holes in the earth along trails. I put them back together and then gave him that hand to get up that we all need sooner or later. Thus they became new surfaces and new walls. They are no longer to be disposed of, transported, discarded, forgotten. I marked my calendars on them because the key to everything is time. What do we do with it, does it exist? Where is it located?
I think it is important to take care of what reveals its preciousness once seen. The wonderful walls that result from this gesture are new opus of the contemporary. Not trivially ‘ ecological they include the value a gesture. They show architecture in its essence as a gesture of nature. They show themselves as tissues, in the sense that we give biological tissues. I also think they would then help us to see vertically what was horizontal and vice versa. Shaping a space is the key to design.
I called this work Akashawall because Akasha are the records of time where every moment of our lives is written. Magnificent cities could be made where rubble is now.
Letizia Cariello, Milan February 25, 2022
Calendario - Nous / Chirone
steel discs, white wool, farrier nails, photoluminescent paint, dimensions variable, BUILDINGBOX, Milan, 2022
“Letizia Cariello’s site-specific installation, Chiron, invites the viewer from the street to become part of Letizia Cariello’s world. It is an invitation to enter a door that marks a transitory temporality that the artist seeks to inscribe in the very passage of movement, space and time. The artist transforms BUILDINGBOX into her own universe with planets and a constellation reminiscent of Chiron, the benevolent centaur and physician of the soul who heals others to heal himself. This will be followed by an unpredictable succession of other site-specific installations dictated only by time and the artist’s creative process.” – Annette Hofmann
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. And then there is music, understood as a way of thinking and as a thread behind those lines of force, as an inner vision that lies both inside and outside each of us. 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