Chiara Dynys

Tutto – Bitter Sweet, Love Hate, (detail)


methacrylate casting

Chiara Dynys. Lo Stile – Cà Pesaro Venezia

20.04.2024 – 15.09.2024

From April 20th to September 15th, 2024, at the same time as the 60th Venice Art Biennale, the Dom Pérignon Rooms of Ca’ Pesaro – International Gallery of Modern Art in Venice, will host Chiara Dynys‘ solo exhibition Lo Stile, curated by Chiara Squarcina, Alessandro Castiglioni, Elisabetta Barisoni and with a critical contribution by Angelo Crespi.

In continuity with this perspective, Lo Stile is a site-related exhibition project designed specifically for Ca’ Pesaro.

An exhibition, promoted by the Fondazione Musei Civici di Venezia, of great visual power, apparently provocative but actually revealing the centrality in art of the form of language.

In deference to a poetics that has always rejected any stylistic definition, Dynys reinterprets the linguistic synthesis of Neoplasticism founded by Piet Mondrian (the De Stijl movement), through a series of new immersive environments, in which light and matter redraw the narrative of reality.

The artist writes about this: “The reference to Mondrian is meant to make explicit my claim that the form of language, even when style is disavowed, as in my work, is central. The installation that gives the exhibition its title is in fact an ambiguous work, which intentionally echoes the compositions of the theosophical artist but at the same time repudiates them, because it is made of stone and metal, that is, of present and resistant materials, what Mondrian eschewed more than anything else.”

Opposed to this, a group of colored methacrylate books from the Tutto series provides further insights into my particular and contradictory idea of style, while the second large room is entirely occupied by the installation Gate of Heaven, where the luminous skeleton of a large door seems to derive from the equally luminous curves that spread across the floor in accordance with the course of the gravitational waves of the universe.”

Thus, the close view in time and space of these three works speaks of a “style” that can safely disavow itself, but to renew itself: everything becomes “style” if the disparate language with which it is expressed succeeds in becoming form.