Chiara Dynys on display at Ca’ Pesaro in Venice

An exhibition of great visual power, apparently provocative but in reality revealing the centrality of the form of language in art.
In accordance with a poetics that has always refused any stylistic definition, Chiara Dynys (Mantua, 1958) reinterprets the linguistic synthesis of Neoplasticism founded by Piet Mondrian (the De Stijl movement) at Ca’ Pesaro in Venice, through a series of immersive environments, in which light and matter redesign the story of reality.
The exhibition is completely dedicated to new installations that cross the artist’s practice and present a series of reflections capable of revealing a new chapter within a poetics that for thirty years has been stratified in an uninterrupted path of linguistic transformations.

Chiara Dynys’ exhibition in Venice

In developing this journey Chiara Dynys explains how “Light and reflection on matter help me overcome the idea of ​​style. I don’t want my language to fit into a stylistic form: my work has its own consequentiality and obsessiveness in its meaning. I like to always use different materials so that these do not determine the recognisability of my research. I would like that every time in my works the meaning was so recognizable as to define its belonging to my language; this is why I make films, I use projections and different light systems such as LED, neon or laser light or light-sensitive materials such as glass or mirrors. In this way I affirm fundamental concepts for me such as the crossing of a material or immaterial threshold, between vision and non-vision but I escape the idea of ​​style”. The exhibition curated by Chiara SquarcinaAlessandro Castiglioni, Elisabetta Barisoni in fact, it places this elusiveness at the center through “the style” par excellence, that of Mondrian’s Neoplasticism. The artist still says “more than a tribute to Piet Mondrian, the exhibition is my affirmation that the form of language, even when style is denied, as in my work, is central”. Dynys is therefore interested in a conceptual project. “The abstract is not created exclusively through stylization: it does not manifest itself only through simplification and purification. In fact, the abstract remains the plastic expression as a function of the universal: it is the most in-depth internalization of externality and the purest externalization of internality”.

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Mondrian in the work of Chiara Dynys

The artist says: “the reference to Mondrian is intended to make explicit my statement that the form of language, even when style is denied, as in my work, is central. The installation that gives the exhibition its title is in fact an ambiguous work, which intentionally takes up the compositions of the theosophist artist but at the same time denies them, because it is made of stone and metal, that is, of present and resistant materials, what Mondrian he shied away more than anything”. “Contrasted with 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 “Gate of Heaven” installation”, where the luminous skeleton of a large door seems to derive from the equally luminous curves that spread across the floor according to the progress of the gravitational waves of the universe”. Thus, the close vision in time and space of these three works speaks of a “style” that can easily be denied, but to be renewed: everything becomes “style”, if the disparate language with which it is expressed manages to become form.

Paolo Bompani

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