Project curator: Vladimir Rannev
On the one hand, the word pianissimo is a musical term for the volume level — very quiet, very quiet. On the other hand, piano means a musical instrument, a piano, and with the completion of the superlative degree (issimo), it has an idiomatic meaning that is difficult to translate into Russian — a lot of pianos, very piano. It would seem that having a lot of pianos is a good thing, because there should be a lot of good things. But this instrument has become familiar in our lives not only as a source of charming music, but also as friend and foe (depending on the child's attitude to music lessons), a memory machine (the instrument remembers the fingers of two or three generations of family members), a sacred interior item (even being mute for years, it remains "the "altar" element of the home microcosm). And the music that is born in the womb of this household does not necessarily have to be charming — piano literature is full of disturbing and even tragic pages. So the piano, being so tenaciously woven into our environment, acquires the skills of a chameleon — its image changes depending on the physical and metaphysical contexts in which it finds itself. So at this "very piano" exhibition, the works of Marina Gisich gallery artists, so different in technique and spirit, create very different contexts, entwining pianos and entering into intricate relationships with them, turning into installations or interior cells of furniture malls. It is also important that the action takes place in a hotel, a place that is designed to be a universal home, cozy for everyone. Settling in such a diverse group of residents creates another semantic context that is possible here — the experience of unexpected cohabitation in one space of multicolored and diverse styles, handwriting and techniques that need to not only live with each other, but also get along.
