Chiara Dynys, one of Italy's leading contemporary artists, has established a long-standing partnership with Cortesi Gallery, which is now renewed at the spaces at Via Morigi 8, where she will be present until July 5th with a new solo show titled Un'eterna ghirlanda brillante (An Eternal Brilliant Garland). Curated by Giorgio Verzotti, the show presents four cycles of previously unseen works, specifically conceived for the Milanese exhibition, along with the series La Blancheur . The exhibition could be described as "a constellation of bodies that, almost as if without matter, define a luminous universe. A garland that appears before the viewer's eyes and captivates them, as if caught in an image of total weightlessness that almost seems to fly before their eyes. Elements in luminous and very light transition, but in reality complex aluminum works."
At the heart of the work lies, once again, the contradiction between opposites, between the material and the immaterial. The installation, with its museum-like impact, is composed of dodecagonal shapes of eight different sizes. Each shape, cut by the artist to resemble a diamond, features 122 facets, a perfect combination of inward and outward elements, and participates in a comet of elements arranged in an irregular radial pattern on the walls. The eternal shining garland , from which the entire exhibition takes its name, is defined thus, evoking two complementary yet opposing elements: sculptural physicality and luminous immateriality.
New and created specifically for the exhibition by Cortesi Gallery , the Parade Perspective series consists of a series of perspective frames in methacrylate, splayed and transparent in various colors. The exhibition is completed by Chiara Dynys's tribute to the celebrations for the Canova Year, through the La Blancheur series , previously exhibited at the Galleria Casamadre in Naples. The La Blancher series , a French term that can be translated as "the whiteness," is inspired by the artist's original photographs in the plaster cast gallery in Possagno – Canova Museum; these photographs capture details that, through spatial multiplication, become mirrors. Collectors of light in which mirrors juxtaposed with images of neoclassical perfection create a short circuit between reality, perception, and illusion. La Blancheur is a temporary experience of weightlessness that communication imposes on us today, even more burdened by its rapid transformations. A moment of pure suspension. Also on display are the latest examples of the Tutto cycle , whose basic idea is the opposition and connection between history and contemporaneity.
Cosmic Naturalism , on the other hand, should be discussed in relation to Tiziana Lorenzelli's solo exhibition, curated by Vera Canevazzi, which transforms the spaces of the Lugano gallery into a universe of shiny metallic installations, some specifically designed for the spaces of the Cortesi Gallery, until July 22nd.
The exhibition is mainly developed around the theme of Nature, understood in all its terrestrial and cosmic forms, in the mechanisms of forces that regulate it and in the increasingly urgent need to protect it today. Nature is conceived in its mutability, in its continuous transformation and evolution in relation to the other elements, to the space that surrounds it, to the light and to us spectators who witness a cosmogony of the universe, its very creation and becoming a celestial world. It is precisely this cosmic-spatial dimension dominated by fields of forces that Tiziana Lorenzelli wants to recreate, making us immerse in real sculptural constellations in which each work is studied and created together with the surrounding environment.
The theme of Nature, at the center of the artist's reflection for more than forty years, has always been conveyed by the use of recycled or newly produced metals. In the last ten years, Tiziana Lorenzelli's attitude to experimentation has focused on a new material, Aluflexia® Recyclable Alluminium, which she invented herself. In Lorenzelli's work, formal research has always been enriched by experiments on new technologies. For years, for example, she has concentrated on the use of magnets, with which she affixes the sculptures to the wall, reaching the gravitational suspensions of the Flying Sculptures. He has also recently created works in NFT: a series of "stroboscopic" drawings transformed into crypto art and the work Cobalt Blu Door (2022), a video in which the homonymous installation in blue Aluflexia® transforms and evolves into a dense flow and magmatic.
Finally, the major solo exhibition Grazia Varisco. Percorsi contemporanei 1957-2022, curated by Marco Meneguzzo , runs from June 22 to September 16, 2022, at the Palazzo Reale in Milan. This exhibition chronicles Varisco's artistic journey from the 1960s, with her explorations of kinetic and programmatic art, to her most recent experiments. A major room will be dedicated to the reconstruction of a landmark solo exhibition of the artist at Galleria Schwarz in Milan in 1969, which served as a synthesis of her entire artistic-kinetic period. From her earliest research, Grazia Varisco's work has constantly evolved through the exploration of diverse themes that connect space/time, chance/program, presented in various unconventional forms of expression.
Varisco's works are present in many private and public collections, including the National Gallery of Modern Art in Rome, the Museum of Modern Art in New York, the Museum of Modern Art in Bologna, the Fundación Museo de Arte Moderna Jesús Soto Ciudad Bolivar, the Museum im Kulturspeicher in Würzburg, the Villa Croce Museum in Genoa, the Museo del Novecento in Milan, the Gallerie d'Italia, Piazza Scala and the Ritter Museum in Waldenbuch.
Grazia Varisco is one of the Italian artists selected to participate in the 59th Venice Biennale, " Il latte dei sogni ," curated by Cecilia Alemani. Her work, Schema Luminoso Variabile R.3D , 1963, is presented to the public in the thematic exhibition "La tecnologia dell'incanto," dedicated to historic artists. The exhibition, located in the central pavilion of the Biennale Giardini, focuses on the relationship between the human body and technology such as membranes and screens. The artist has consistently reflected on this theme since the early 60s, when she co-founded the Gruppo T in Milan, with artistic research dedicated to the programmed kinetic field.
