Chiara Dynys. Private Atlas

Private Atlas, by Chiara Dynys, is an anthological exhibition project, structurated in twelve episodes, curated by Alessandro Castiglioni and presented by BUILDINGBOX from January 15th, 2025 to January 6th, 2026.

For the first time, BUILDINGBOX dedicate a year-long monographic exhibition to a single artist, Chiara Dynys – represented by BUILDING – with twelve distinct installations conceived specifically for the exhibition space that overlook via Monte di Pietà 23, Milan.

Private Atlas is a solo exhibition that unfolds over time, an experimental project tracing thirty-five years of the artist’s research and activity. The exhibition represents a journey composed by a series of appointments that reveal and highlight poetic aspects of the artist’s work, delving into her biography, her obsessions and her artistic exploration.
As curator Alessandro Castiglioni observes, the exhibition is presented as: “an historical, but also emotional geography of Chiara Dynys’ work.”

The exhibition project, conceived as a private atlas, is structured around three main chapters entitled La Disseminazione della memoria [The Dissemination of Memory], Attraversamenti [Crossings] and Viaggio in Italia [Journey Through Italy], presenting, on a monthly basis, historical works and new productions by the artist in site-specific installations designed on purpose for BUILDINGBOX’s space.

The first chapter, La Disseminazione delle memoria [The Dissemination of Memory] (from January to April, 2025), gathers works where space, atomized and fragmented, reflects on the relationship with forms of Western culture in constant dialogue with one’s identity.

The second chapter, Attraversamenti [Crossings] (from May to August, 2025), addresses one of the central themes in the artist’s work: the threshold, conceived as a place, a limit, in both its material and immaterial dimensions.

The third chapter, Viaggio in Italia [Journey Through Italy] (from September, 2025 to January, 2026), referencing Rossellini’s iconic masterpiece, explores cinematic imagery, the relationship with the ancient and classical, as well as with popular and vernacular culture.

These narratives, like a kaleidoscope—another archetypal form dear to the artist—intertwine, juxtaposing images and imaginaries in a circular continuity over the course of a year. This approach offers a new historical-critical perspective on Chiara Dynys’ work, as suggested by Castiglioni.