letizia cariello via de alessandri 9 - milano – italia
TRANSCRIPT
Calendar #49 – embroidery and ink pen handwriting
Diam cm 120, private collection, Milan 2015
Letizia Cariello prende il tempo in contropiede: lo aspetta, lo accompagna, sta con lui mentre arriva − è − sarà. Il tempo passa a ogni respiro e ogni essere umano raramente ne ha piena coscienza. Cariello, con il suo gesto artistico, ci esorta ad accorgerci di lui − il Signor Tempo − a non temerlo, a non ingabbiarlo, a non sottovalutarlo, a farcelo amico. Perché il tempo è un galantuomo che svela sempre la verità.Quello che l’artista presenta attraverso il tema arcaico del calendario è uno stratagemma di contemplazione della realtà che, attraverso una domanda sul tempo, chiede allo spettatore una risposta sull’effettiva esistenza del reale. Il tempo viene esplorato attraverso la scrittura di calendari. È questa una cifra caratteristica della ricerca di Cariello fin dagli esordi del suo lavoro: scritto a penna o a matita, su lenzuola oppure su oggetti e supporti vari − inclusa la pelle stessa di Cariello − il Calendario si presenta come una lunga sequenza di numeri e di lettere che sono le iniziali dei giorni e delle settimane a venire. «I calendari li scrivo a penna sul lenzuolo o li incido nel ferro. Scrivo i nomi dei giorni della settimana e i numeri delle date. Sempre del tempo futuro, quello che manca, quello che riesco a pensare. Quando non riesco più a farlo mi fermo e l’opera è terminata». L’artista si concentra sulla relazione fra il tempo e gli oggetti e si prende cura di loro fisicamente. Lavora a mano libera e impiega fino a tre o quattro mesi prima di staccare la penna dal lenzuolo. «I puntini rossi ricamati − commenta − sono un ritmo che proietto visivamente sul lenzuolo e poi ricamo, come un battito del cuore figurato». I calendari iniziano con il giorno in cui l’artista dà il via all’opera, un esercizio performativo di scrittura e di concentrazione mentale rivolti al tempo che verrà. I giorni cerchiati sono quelli in cui l’autrice è in vacanza o quelli in cui vive qualche festa di famiglia. La distanza tra una riga e l’altra non è calcolata, ma generata in modo organico, come si formano gli anelli concentrici dei tronchi d’albero. Sono porzioni di vita, segni del tempo trascorso. I calendari sono spoglie sotto cui l’artista materializza il tempo, sono mappe per catturare la luce che passa sulle cose in modo inesorabile e impercettibile, con una tale lentezza da suggerirci che la vita vera sia qui e adesso, come il nostro respiro.
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.Time is investigated through the calendar composition. This is, since the debut of her work, a characteristic code of Cariello’s research: written by pen or pencil, on sheets, objects or various frames − including Cariello’s own skin − the Calendar is the result of a long sequence of numbers and letters, which represent the initials of the days and weeks to come.«I write calendars by pen on sheets or I engrave them on iron. 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 artist is focused on the relationship between time and objects and physically takes care of them. She works free-hand and takes till three or four months before being able to move the pen away from the sheets. «The embroidered red dots − Cariello comments − are a rhythm I visually project on the sheets and that then I embroider, as a figurative heart beat». 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. 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.
Il Tempodi Letizia CarielloMarina Mojana
The Time of Letizia Cariello
Calendario, 2015Wall Painting Installation
penna su lenzuolo intelaiato in teca di legno e
pittura Rosso Cariello su muro324,5 x 190,7 cm
CAMPARI WALL – INSTALLATION IN THE CAMPARI HEADQUARTER PALACE, MILAN
SAN MORITZ ART MASTERS
STEINGARTEN & THE WIND IS BLOWING IN MY DIRECTION
PERMANENT INSTALLATIONS IN CHESA COLANI, MADULAIN CH
Five steinless steel iron trees, when the wind blows they sinf in “Mi Bemolle”
The permanent installation was inaugurated on the occasion of San Moritz Art Masters, the international Art Walk curated by Reiner Opoku in the Engadine Valley of Switzerland www.stmoritzartmasters.com/it/walk-of-
art-365-giorni/letizia-cariello.html
LETIZIA CARIELLO
THE WIND IS BLOWING IN MY DIRECTION
site specific permanent installation
at Chesa Colani, Madulain
The second site-specific installation for the new Chesa Colani will give a special touch to the new façade of the restored building.
The project has been developed in collaboration with the Mechatronics Department of the Faculty of Engineering at the Univeristy “Politecnico” in Turin, Italy .
Seven metal trees, two in copper and four in stainless steel, will be planted in front of the Chesa Colani entrance lining the main street
The blowing of the wind in the valley and across the Chesa Colani will let the side branches of the trees touch each other.
Depending on the speed and the strength of the wind blowing, the trees will release a sound created by tabbed flat ends moving across embossed dots placed on the touching branches, producing a sound much like that from a musical box.
Therefore, we won’t be able to figure out the timing and strength of the music , and this will create a sense of expectation in the viewer’s imagination.
Letizia Cariello - www.letiziacariello.com ; State Fine Art Accademy of Brera, Milano,
in collaboration with :
CSPP-LIM - Laboratorio Interdisciplinare di Meccatronica Politecnico di Torino http://www.lim.polito.it and
Chesa Colani Investment Circle
STEINGARTEN – PERMANENT INSTALLATION - CHESA COLANI/Madulain CH
San Moritz Art Masters
Steinless steel spheres and green stones of Engadine Valley on the roof
The shining spheres are resembling the water when it goes through the stones in the mountain stream. The german word “steingarten” means “rocky garden”
THE STARRY HEAVEN ABOVE ME
iron, red and blue varnish, concrete blocks
San Gimignano, Tuscany - permanent installation in the Public Sculpture Garden of
the city
http://lunettesrouges.blog.lemonde.fr/2010/12/14/le-sacre-du-cantique-des-cantiques-a-priape/
Le Monde, Paris
GIVE WINGS TO YOUR DREAMS
COMPOSABLE SCULPTURE, pottery, marble stones feathers and copper thread
The sculpture can be developed both into an external installation sculpture and into an indoor table
‘cooked’ in one of the most ancient furnace of “ceramiche Gatti” in Faenza, Ravenna Italy
SWORD IN A STONE
This sculpture can also be developed into a “sword in the stone garden “, with many of this single piece in different sizes to be put indor or outdoor and adjusted to the site
ITALIAN WHITE MARBLE STEINLESS STEEL BRASS GOLD PAINT
NEIGHBORHOOD
INSTALLATION AT GALLERIA CONTINUA’S BOOTH IN ART BASEL, Basel Switzerland
Cages from China,and light designing
This same idea has been also developed with steinless steel and ceramic cages
TOTEM - Wood, gold paint and feathers
Engraved steel Calendar round sculpture can be hung onto a wall or lie horizontal
WWW.LETIZIACARIELLO.COM
www.galleriaminini.it/artists/letizia-cariello-2/
www.galleriaminini.it/exhibitions/letizia-cariello/
www.galleriaminini.it/?s=Letizia+cariello