Chiara Dynys

An Eternal Shining Garland is Chiara Dynys' new solo exhibition scheduled from May 5 to July 5, 2022 at Cortesi Gallery in Milan.
The artist presents four cycles of new works, specially conceived for the Milan exhibition, curated by Giorgio Verzotti, together with the series La Blancheur.
A long-standing partnership, the one between Chiara Dynys and Cortesi Gallery that, on this occasion, is renewed at the spaces in Via Morigi 8 but that, in 2021, led the artist to collaborate with Cortesi Gallery in Lugano for the exhibition Parade.


A constellation of bodies that, almost without matter, define a luminous universe. A garland that appears before the viewer's eyes and enraptures him, as if caught by an image of total weightlessness that almost seems to fly before our eyes. Elements in transition are luminous and extremely light, but in reality complex workings of aluminum. At the center of Chiara Dynys' work lies, once again, the contradiction between opposites, between material and immaterial.


The installation, with museum-like impact, consists of dodecagonal shapes of 8 different sizes. Each shape, on the artist's own invention cut to resemble a diamond, has 122 faces, in perfect concert between introflected and extroflected elements, and participates in a comet of elements arranged radially in an irregular manner on the walls.
The different sizes, together with the concave and mirrored center of each piece, ensure the different brilliance of the faces.


The composition of the former is structured around the largest sized astro, more than 55 cm in diameter and, due to its circular pattern, evokes Pontormo's 1526 painting "The Transporting of Christ" or "Deposition," preserved in the Capponi Chapel of the Church of Santa Felicita in Florence. The side wall, on the other hand, houses 5 stars set up to recall the shape of the constellation Vega. The eternal brilliant garland, from which the entire exhibition takes its title, is thus defined, evoking two complementary and at once opposite elements: sculptural physicality and luminous immateriality.


Unseen and created especially for the exhibition by Cortesi Gallery, the Parade Perspective cycle consists of a series of methacrylate perspective frames, splayed and transparent in different colors.
Such frames, which have characterized Chiara Dynys' work for years, feature a colored plexiglass background of the same color with cuts of different shapes. Each cut corresponds to a perspective form: colonnades, oblique signs, optical cones and corridors of Renaissance sign, crossed by lights in the Plexiglas that interface and illuminate the mirrors placed at the bottom.


Chiara Dynys' tribute to the Canovian Year celebrations completes the exhibition. Two hundred years after the death of the greatest of the masters of neoclassicism, who made the ideal of classical beauty his own and was able to revive it through marble, Chiara Dynys pays a fitting tribute to Antonio Canova through the La Blancheur cycle, previously exhibited at the Casamadre Gallery in Naples. The series La Blancher, a French term that can be translated as "the whiteness," is imprinted with the artist's original photographs in the Possagno gipsoteca - Museo Canova; these take up details that, Cortesi Gallery through spatial multiplication, become mirrors. Light collectors in which, mirrors juxtaposed with images of neoclassical perfection, create a short circuit between reality, perception and illusion. With this title, the artist makes reference to the philosopher David Le Bréton, with his prescient assumption about disappearance understood as the temptation to detach oneself from the self, to divest oneself of the obligations that permanently impose responsibility without being able to catch one's breath. La Blancheur is a provisional experience of the weightlessness that communication imposes on us today, even more
burdened by the very rapid transformations. A moment of pure suspension.


Also on display are the latest pieces from the Tutto cycle, the focus of Chiara Dynys' production since 2015. The idea behind the successful cycle is the opposition and connection between history and contemporaneity. Two opposite words appear from the pages of an open book and make us reflect, on the one hand, on the need to remember and learn and, on the other, on the need to stop looking ahead.