Curated by: Gabriella Belli
A resistant childhood that preserves its enchantment and naivety, even when life becomes dangerous and miserable. This is the theme of ChiaraDynys’s unreleased project.
The exhibition, curated by Gabriella Belli, director of Fondazione Musei Civici di Venezia, is the result of a work started by the artist between 2010 and 2013 in Beirut, made of 27 triptychs in gilt wood. Each composition contains, as a sacrarium, pictures taken around the streets of these frightening and isolate “ghettos” where the artist, between toys and smiles, unveils the wonder of a normal and happy childhood.
“When I visited Sabra and Shatila’s camps, I perceived an incredible vital energy, a desire to live that generates joy of life” Chiara Dynys explained. “The special solidarity between boys, necessary to survive in this hostile outer world, gives life to a different dimension, a kids oriented world with all the codes of complex system. This project is not about refugees or the tragedy of Middle East. I just started from here to talk about something more universal, more touching: through the eyes and faces of a delicate and pure youth, I was looking for the real sense of existence.”
Her artworks represent the primordial and authentic Beauty. The pictures ‐ mounted inside precious treasure chests inspired by polyptychs of churches, Buddhist little temples or the frames containing the Koran’s words ‐ are truly religious depositions, expressions that are not Christian, Muslim or Buddhist rather a part of a universal spiritual feeling.
The project, hosted in the wonderful Sala delle Quattro Porte, one of the finest of the Museum, creates a special relationship with the sacral dimension of the space, defined by a wonderful Madonna col Bambino by Jacopo Sansovino. Just in the middle of Sala delle Cinque Porte, there is a big installation composed of an empty crystal case signed by golden words “Non C’è Nulla al di Fuori”, based on the thought of Saint Augustine, becomes a paradigm between Outside and Inside, in a direct comparison to interior childish integrity.
The exhibition, realized also thanks to Mario Aite’s and Renata Zoppas’s support and to the fruitful collaboration with VAFStiftung, underlines the Fondazione Musei Civici di Venezia’s commitment to issues of civil co‐existence, in dialogue with previous experiences dedicated to two relevant artists as the American Jenny Holzer and Iranian Shirin Neshat, whose artworks were highly socially engaged.