Ernesta Caviola...Raas Gallery, Via Pietrasanta14 REAL-ISM 5+1 (with 5+1AA e Danilo Trogu) june 2007 Milano, Italy atelier 5+1AA, via Cadolini 32/38 IL CALLIGAFRO (personal) march

A R C H I T E T T O

photo by Luciana Rattazzi

Ernesta Caviola I would like to be as a photographer a correspond-ent of Madonnas maker, infinite and subtle variations on the theme, working on the edge of things. It may seem paradoxical to evoke in our time “low defini-tion”, backlighting, one way to tell the truth through all-inclusive microcosms and cultures shared, like, say, the Dutch interior painters. My aim now is to photo-graph the architecture as I would paint on commission, a young barefoot woman with child, full of special de-tectors, a Madonna of course; things are never what they seem.

Allows an image to see again and the epiphany of places, cities, children grow up and just disconnects the flow blasé countless things that surround us. Photo-graphing Italian architecture is for me to listen in abso-lute silence of an image, the white noise of the bod-ies present or future through the buildings, to allude to what is still there, but that is already here.

Francesca Solero Exuberant, passionate and dreamer, the woman. Acute, subtle and penetrating, the artist.Ernesta Caviola human presence is uplifting vital-ity. The thickness in her culture through the streets of light-hearted stories, confide in a loud voice from the gestures of an actor going on the Disney excitement.Knowing Ernesta encounter physical and personal is an experience that opens up endless worlds, which builds bridges between past and future of a society distinctly Mediterranean that she knows and loves deeply, in its ideological structure as in cultural and social changes that have shaped and created the contemporary history. Figure rich of spaces, with amazing changes and consultation between the parties, Ernesta does not cover fits transversely into branches that draw, in the mo-ment of dialogue, clear and readable visions of reality. The instant feeling that you understand one piece more of the world, that is the fate smiles to those who are next to her in one of her frenetic moments of a typical day.Know her through her work gives, on the other hand, an innate attention to the world, respect-

ful curiosity to the other, that characterizes every photographic moment, and even before, his love for the medium. The eye prosthesis and his silent feature space ready for the spotlight giving way to the possibility of the vision.

text written for the exhibitionThe CalligraphistLarge format photographsby Ernesta CaviolaThe Whitecross Gallery, London8 - 14 december 2006

A+D+MA10AbitareAbitare la TerraADAR2ArchistormArchitettareArchITetturaArchitettura & impiantiArchitetture LuccaAreaArkitectonArteAT Casab0xBauweltBlueprintCasabella (almanacco)Case da AbitareCityproject

ClassCostruireCostruire in LaterizioCostruzioni Metalliched’ArchitetturaDdonnaDesign Magazine EntertainmentDetailDiseño InteriorDomusEcoflashIl Sole 24 oreL’EspressoFlareIl Giornale dell’ArchitetturaIl Giornale dell’EdiliziaIl Secolo XIXInterior DesignInterniItalian DesignitaliArchitettura3

L’ArcaL’Arca internationalL’Architettura - cronache e storiaL’Industria delle costruzioniLa nuova finestraLa RepubblicaMadeMarie Claire MateriaMatière et architectureMercedes MagazineOfArchOttagonoParametroPresenza TecnicaProgettareRivista del vetroScale - elementi del progettoSolariaThe PlanUrbanisme

PHOTOGRAPHY

Ernesta Caviola publishedin the following press

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Mercedes magazinefebruary 2010

covershot by Ernesta Caviola

“Una città, mille culture”text by Ernesta Caviola

Interior Designjune 2008

“La dolce vita”text by Mark McMenamin

Case da Abitare n.91october 2005

“Quirinale. Le stanze, il giardino”text by Ernesta Caviola

Case da Abitare n.81october 2004

covershot byErnesta Caviola

“Genova per noi”text by Ernesta Caviola and Marcello Trucco

Pasajes de ArquitecturaCritica n.19september 2000

“Pabellón de Japón”

OTHER COVERSHOTS

d’Architetture n.31december 2006

“Low emission building”

Mario Pisani5+1AAapril 2009

Mad’emarch 2002

“Genova e dintorni”

edited by Ernesta Caviola:

LA TOUR HORIZONTALE | UN ENIGMA DORATO | IN THE MOOD FOR LOVE5+1AA Alfonso Femia Gianluca Peluffo & JB PietriAnteprima | AAM editions | Arsenale editrice, France/Italy, 2011photos by Ernesta Caviola

COSA C’È IN FRIGO? | QU’EST-CE QU’IL Y A DANS LE FRIGO ? | WHAT’S IN THE FRIDGE?5+1AA Alfonso Femia Gianluca PeluffoAnteprima | AAM editions | Silvana Editoriale, France/Italy, 2009photos by Ernesta Caviola

IL SILENZIO DEL SOTTOMARINO | LE NOMBRIL DES RÊVES | THE FLOW OF THE TIDE5+1AA Alfonso Femia Gianluca PeluffoAnteprima | AAM editions | Silvana Editoriale, France/Italy, 2008photos by Ernesta Caviola

IL NUOVO PALAZZO DEL CINEMA DI VENEZIA | LE NOUVEAU PALAIS DU CINÉMA DE VENISE | THE NEW CINEMA PALACE OF VENICE5+1AA - Rudy RicciottiAnteprima | AAM editions | Silvana Editoriale, France/Italy, 2008

with photos by Ernesta Caviola:

5EARTHS+1FORM 5+1AA, Italia, 2007photos by Ernesta Caviola

with essays by Ernesta Caviola:

NET.IT SNAPSHOT SU ARCHITETTURA DESIGN FOTOGRAFIA NETWORK IN ITALIAACTAR, Barcelona,2005

VIAGGIO NELLE CITTÀ SOGNATENE, Genoa, 2004

50. NUOVA ARCHITETTURA ITALIANA. DUE GENERAZIONI A CONFRONTOFederico Motta, Milan, 2002

5+1. THE SHADOW OF IDEASSkira Books, Milan, 2000

BOOKS

AT Casainterior design web magazinejuly 2008photos: Ernesta Caviolatext: Ernesta Caviola“Decori liquidi”

AT Casainterior design web magazinemay 2008photos: Ernesta Caviolatext: Ernesta Caviola“Collezione flessibile”

AT Casainterior design web magazinefebruary 2008photos: Ernesta Caviolatext: Ernesta Caviola“Affinità Elettive”

Parametro architecture magazineseptember 2007photos: Ernesta Caviolatext: Ernesta Caviola e 5+1AA“Il cretto di Burri”

Interni 574architecture magazineseptember 2007photos: Ernesta Caviolatext: Ernesta Caviola“Collezione flessibile”

Abitare 467architecture magazinedecember 2006photos: Ernesta Caviolatext: Ernesta Caviola“Arso longa, vita brevis”

d’Architetturaarchitecture magazinedecember 2006photos: Ernesta Caviolatext: Ernesta Caviola“Low emission“

Interni 12architecture magazinedecember 2005photos: Ernesta Caviolatext: Ernesta Caviola“La bambina e la fabbrica del ghiaccio”

Case da Abitareinterior design magazineoctober 2005photos: Ernesta Caviolatext: Ernesta Caviola“Quirinale. Le stanze, il giardino”

Architetti italiani Under 50cataloguemay 2005photos: Ernesta Caviolatext: Ernesta Caviola“Caserma Guardia di Finanza”

Case da Abitare 83interior design magazineoctober 2004photos: Ernesta Caviolatext: Ernesta Caviola“Erre house”

Case da Abitare 81interior design magazineoctober 2004photos: Ernesta Caviolatext: Ernesta Caviola“Arte in casa”

Case da Abitareinterior design magazinejune 2004photos: Ernesta Caviolatext: Ernesta Caviola e Simona Gabrielli“Genova dentro”

Area 62architecture magazinemay-june 2002text: Ernesta Caviolaphotos: Alizia Lottero“Centro visite e antiquariumdel Foro di Aquileia”

Area 58architecture magazineseptember-october 2001photos: Ernesta Caviolatext: Ernesta Caviola“Padiglione di scultura Porto”

Area 47architecture magazinenovember-december 1999photos and text: Ernesta Caviola“Turchia nascosta”

Laboratori dell’immagine 1september 1999text: Ernesta Caviola“Guardando le figure”

L’immagine della cittàcome ricerca: Reccoed neos 1998“Fotografia e territorio”

Domus 727may 1991“Le residenze di Costa degli Ometti”text: Ernesta Caviola,Adriana Picollo

ARTICLES AND ESSAYS

Palermo, ItalyStudio 427, via Messina Marine 427ISTANBUL\PALERMO (personal)november 2011

Turin, ItalyQuarter relocated,Largo Saluzzo 35MUSH-ROOM 1(with SibillAssociati)june 2008

Dubai, United Arab EmiratesTotal art gallery, CourtyardARTE ITALIANA-ITALIAN CONTEMPORARY ART (collective)april 2008

Sharjha, United Arab EmiratesQanat al QasbaARTE ITALIANA-ITALIAN CONTEMPORARY ART (collective)march 2008

Milano, ItalyRaas Gallery, Via Pietrasanta14REAL-ISM 5+1(with 5+1AA e Danilo Trogu)june 2007

Milano, Italyatelier 5+1AA, via Cadolini 32/38IL CALLIGAFRO (personal)march 2007

London, InghilterraWhitecross Gallery,122 Whitecross Street5EARTHS+1FORM(with 5+1AA e Danilo Trogu)february 2007

London, InghilterraWhitecross Gallery,122 Whitecross StreetTHE CALLIGRAPHIST (personal)december 2006

Genoa, Italybar Le Corbusier,Via di San Donato 36TANGHI - 12 FOTO AL BAR (personal)january 2005

Genoa, ItalyFacoltà di Architettura,Stradone S. Agostino 37VIAGGIO NELLE CITTÀ SOGNATE (collective)october 2004

Turin41 artecontemporanea,strada val salice 9COLLECTIVE 18X24 (collective)december 2003

Turin41 artecontemporanea,strada val salice 9COLLECTIVE 18X24 (collective)december 2002

EXHIBITIONS

National photography awards“Lombardia effetto paesaggio”Milan 23 february 2000third place “Seniores”

AWARDS

Annalisa Rosso

Palermo\Istanbul

Studio 427, Palermo24 november 2011

Hotel Büyük Londra, Istanbul15 march 2012

Mirror mirror on the wall, who’s the fairest of them all? Some cities are magnificent. The charm exuded by certain places around the world has a magnetic force capable of turning our lives upside down. Due to an excess of beauty, history, intensity and character. A magical attraction for some people, mystical for oth-ers. Ernesta Caviola’s life and work have gone through these changes dictated by spaces. As a photographer and architect she has been seduced by hidden loca-tions, recording the magic enshrouding them. With a sentimental and sympathetic eye.We are talking about two cities that have been such a big part of this cathartic landscape. Istanbul and Palermo. A double gateway opening onto two worlds. Palermo and Istanbul. An enchanted mirror looks into their most secret innards. Extraordinary proprietors of the past and present that obstinately demand to take pride of place. In relation to what, we know not.Ernesta Caviola’s photography focuses on two fronts, distant and very near. And it creates a bridge. A spa-tiotemporal gap just like in the very best of science fiction. But this time we are dealing with fact: take a careful look at the pictures. From Palermo, you will find yourselves looking into softly padded rooms, full of

curtains and rugs, belonging to the Hotel de Londres. From Istanbul, you will see the white, empty and salty space of an old lemonade factory.Tricks with mirrors. Thresholds to be taken advantage of, doubles chasing after each other. Age-old knowl-edge is frozen in the motionless disharmonic splendour around the Mediterranean Sea. The photographed faces take on the timeless solid steadfastness of great works of architecture. Monumental town-planning, constructions, whose power has captivated us, turn into capricious, fickle characters. As suggested by the unique and generous vision of a photographer. Rome, Bursa, Genoa, Catania, Istanbul, Palermo… The lights, details and framing. A lengthy and loving process of observation dictated by the speed and rhythm of an unmovable view camera. Causing us to pause for thought. In the belief that distances are turned into landscapes through images.

PALERMO\ISTANBULcurated by Raffaella Guidobono


Argo, Port of Palermo (2005)analogic print with white margins from 4x5” platemade by Master printer Arrigo Ghi in Modenaone-off piece (2 of 7)cm 158x210



Yellow woman, via Plebiscito, Catania (2004)analogic print with white margins from 4x5” platemade by Master printer Arrigo Ghi in Modenaone-off piece (2 of 7) mounted on dibond with spacerscm 100x128



Seltz, Catania (2004)analogic print with white margins from 4x5” platemade by Master printer Arrigo Ghi in Modenaone-off piece (2 of 7) mounted on dibond with spacerscm 100x128



Lost steps wharf, Port of Genoa (2004)analogic print with white margins from 4x5” platemade by Master printer Arrigo Ghi in Modenaone-off piece (2 of 7) mounted on dibond with spacerscm 100x128

Acropolis, Port of Genoa (2004)analogic print with white margins from 4x5” platemade by Master printer Arrigo Ghi in Modenaone-off piece (2 of 7) mounted on dibond with spacerscm 100x128





Tribute to Le Douanier, Palermo (2011)analogic print with white margins from 4x5” platemade by Master printer Arrigo Ghi in Modenaone-off piece (2 of 7)cm 118x158



Robecco sul Naviglio, Milan (2001)analogic print with white margins from 4x5” platemade by Master printer Arrigo Ghi in Modenaone-off piece (2 of 7) framedcm 158x118



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Annalisa RossoFrom Turkey, with love

A turkish calligrapher. An Italian photographer. The images sprung from this mutual comparison are shown for the first time in London. And you can not tell if it is placed near or far, if these are real or imaginary spaces, if you are floating in front of these photo-graphs, in themselves, most hidden spaces of your instinctual animal nature, or if you are granite in front of an inheritance, immutable, verging on the sacred. Language, signs, silent congress that is knowledge-able about these gestures, slide in the lights and fog to get to touch us and open our eyes with a sigh. The figures are dilated and strong in their age-old tradi-tion, and cultured with a disarming clarity. Do you see yourself naked in front of the calm wisdom and harmony that transmit these photos.“Ars longa Vita brevis” calligrapher for the photogra-pher cites Seneca, who in turn takes Hippocrates of Kos. Yet, at the same time, we feel that “Ars Longa Vita Brevis” in front of a knowledge of ancient and mystical images that naturally express the strength of a wise man unmoved, as depositary of an absolute good language.It still goes on the quote: “Life brevis, ars longa, occa-sional praeceps, experimentum periculosum, iudicium

difficult,” (“Life short, art long, opportunity fleeting, experiment dangerous, poor judgment”), that are per-fectly suited to these images that take up the chal-lenge and overturn. The occasion, the experiment, the trial is not bend under the gaze so aware of Caviola Ernesta, who stops and merging the art of the cal-ligrapher’s art, in a game of references and mirrors, silent calls and awards, in a dance of mutual glances that suspends time, cancel the space and leaves us feeling at the mercy of a strong and reassuring: the power of wisdom is a thing of this world. We will not be lost, until we have men and women, with their art and poetry, ready to remind us who we are.

The CalligraphistLarge format photographsby Ernesta Caviola

The Whitecross GalleryLondon8 - 14 december 2006

THE CALLIGRAPHISTcurated by Francesco Petillo

The Whitecross Gallery, London8 - 14 december 2006

The Calligraphist #8 (2006)analogic print with white margins from 4x5” platemade by Master printer Arrigo Ghi in Modenaone-off piece (2 of 7) framed with glasscm 100x129,4



The Calligraphist #1 (2006)analogic print with white margins from 4x5” platemade by Master printer Arrigo Ghi in Modenaone-off piece (2 of 7) framed with glasscm 100x129,4



The Calligraphist #11 (2006)analogic print with white margins from 4x5” platemade by Master printer Arrigo Ghi in Modenaone-off piece (2 of 7) mounted on dibond with spacerscm 118x158









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WROTE ABOUT HER: Vittorio SaviOPERE 04, march 2004

Annalisa Rossohttp://blog.atcasa.corriere.it/agenda/2011/11/24/un-ponte-tra-istanbul-e-palermo-le-fotografie-di-ernesta-caviola

Francesca Solero

Veronica Femmininohttp://palermo.blogsicilia.it/istanbulpalermo-citta-sorelle-negli-scatti-di-ernesta-caviola/69916

Angela Zanattihttp://atcasa.corriere.it/gallery/Tendenze/Se-ne-parla/2009/11/24/fotografia-italiana_1/fotografia-italiana_1_gallery_15.shtml

It was Edoardo Persico who, when participating in the directorship, from 1930–1936, guided “Casabella” towards modernity, along the narrow path which char-acterised by strenuous formalism, prestige and elitism of the rationalist architects of the time. Persico was, in fact the guardian angel of “Casabella”, the youthful character who was first criticised and later elevated by historians who first understood that photography was not simply a means of communicating to the masses, but represented the art of occupying the intellect and the spirit of the disciplinary research - and whether it was liked or criticised to forge ever onwards.In the doctorate theses dedicated to The Destiny of Architecture. The Casabella Magazine 1930-36. The invention of Language for Images, (which I would rec-ommend for publication on line or in the press), the au-thor, Ernesta Caviola, at one point considers Persico’s the very modern intuition to be relevant to or times. Photography today, whether analogical or digital is as essential to the architectural discipline, with its relative in-discipline, as drawing in order to render the idea. Photography, in fact assumes the task of representing

the architecture initially, and, at the same time, of inter-preting it afterwards.It has been said that a concept, an idea, a vision such as this could have the effect of paralysing creativity. This view could not be further from the truth. Indeed, (and this is not a criticism) that Ernesta Caviola, herself an architectural photographer, as well as academic, designer uses this, undoubtedly theoretical concept as a base on which to operate. To recall the triad referred to by Hannah Arendt) she acts, photographically and tirelessly and produces sequences which are Unitary, coherent, rigorous yet imaginative.While Persico has not reincarnated and although every specialised journal today, including “Casabella” tends to overuse very contemplative talent which has little to do with authentic photography, it is worth noting that applied photographic research should return to being a testimonial to the work itself, to show us, architects, the architecture, its life, its forms and its intrinsic values, nothing more nor nothing less.

OPERE 04, March 2004 - pp.gg. 30-35

Vittorio Savi,The importance of their photography for us

Francesca Solero The places of architecture photographed by Ernesta Caviola, in the indisputable formal freedom that con-trols the construction of images and fulfills its interpre-tation, are the topics of a visual document/text that reveals the language of a social culture.

Her photographs portray the world through the history of places, moving across individual and collective memory, across the origins, functions and environmen-tal interactions of urban and human architecture. With subtle discretion the images bore into reality, whilst still respecting time and space.

Behind the seeming neutrality of a lens that waits and listens to the air before photographing it, lies a photog-rapher who loves lines and their rigour, aesthetics and its restraint.

Caviola carries out a search expression to identify those ‘appearance of the real, hidden in the folds of the newspaper and revealing the soul of the place (and time), opening up to different implications for nar-

rative, his eyes meeting between the author and to the observer.

She often chooses situations that are the crossroads of large-scale stories, moments of encounters between different linguistic registers, or syntheses of planes far apart from each other.The social dimension welcomes emotions, cultural re-flection bores deeper and is nourished by history.

Passions and traditions meet up or collide with that which is different, before it changes into nourishment.

A R C H I T E T T Ov i a r u b a t t i n o 2 6 / 1 4 0 0 1 5 3 R o m amob. + 39 349 870 68 23e - m a i l : e r n e s t a . c a v i o l a @ g m a i l . c o m

Ernesta Caviola was born in Imperia, on January 12, 1964.

She graduated in Architecture at the University of Genoa in 1994 with a thesis on “A public building in Piazza dei Filippini in Mantova”, obtaining the maxi-mum marks.

In January 1995 she passed the State Exam to prac-tice as an architect.

In July 1995 she obtained a baccalaureate of art of Applied Arts in Graphic Design and Photography.

In July 1997 she qualified to teach in senior schools in the disciplines of Graphic Arts, Photography and Advertising Graphics.

In 2000 she met - in Santu Antine, Sardinia - her faith-ful dog Ulysses with “whom” still shares all her personal and business experiences.

With a thesis entitled “The Fate of Architecture, The Casabella Magazine 1930-36. The Invention of a Language for Images.” she became a Doctor of Re-search at the University of Genoa in 2002. Her re-search work on the architecture takes place almost ten years around photo discipline, with particular interest in the issues of young Italian architecture.

She has been working on the figure in interiors and has written essays and articles on the transformations of the codes within the architectural field.

Her images have been published in major magazines in Italy and abroad.

BIOGRAPHICAL NOTES

Ernesta Caviola - Facebookhttp://www.facebook.com/pages/Ulisse-il-cane-che-lavora/314606511894948

Palermo/Istanbul - AT Casahttp://blog.atcasa.corriere.it/agenda/2011/11/24/un-ponte-tra-istanbul-e-palermo-le-fotografie-di-ernesta-caviola

Palermo/Istanbul - YouTubehttp://www.youtube.com/watch?v=QgyxsJzVr-c

Palermo/Istanbul - BlogSiciliahttp://palermo.blogsicilia.it/istanbulpalermo-citta-sorelle-negli-scatti-di-ernesta-caviola/69916

www.ernestacaviola.com/index_nuova.php[prev iew - under cons t ruc t ion]

http://www.facebook.com/pages/Ulisse-il-cane-che-lavora/314606511894948%20



http://www.youtube.com/watch?v=QgyxsJzVr-c%20

http://palermo.blogsicilia.it/istanbulpalermo-citta-sorelle-negli-scatti-di-ernesta-caviola/69916

www.ernestacaviola.com/index_nuova.php

Documents

Ernesta Caviola...Raas Gallery, Via Pietrasanta14 REAL-ISM 5+1 (with 5+1AA e Danilo Trogu) june 2007 Milano, Italy atelier 5+1AA, via Cadolini 32/38 IL CALLIGAFRO (personal) march