Pianofortissimo #2

“There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence,we cannot.”
(John Cage)

Almost twenty years after its first opening in Corso di Porta Romana, Galleria Davide Di Maggio reestablishes in Milan and opens its new space in Viale Bligny 41. After the long Berlin experience (2001/2017), Davide Di Maggio returns with confident enthusiasm under the spotlights of the Milanese artistic scene, proudly sharing the city’s incitements and energies with Institutions, public and private élite venues.

The Gallery returns with the aim of outline an articulated program dedicated to international experiences in the field of modern and contemporary visual arts, keeping up on going a dialogue between emerging new generation of artists and the great Masters who steered the way in art, a connection which has always been part of the cultural tradition of the Di Maggio ‘s family.
To celebrate the beginning of this new exploit, twelve among the most important and significant personalities of our times, Arman, John Cage, Joseph Beuys, George Brecht, George Maciunas, Giuseppe Chiari, Geoffrey Hendricks, Rebecca Horn, Nam June Paik, Daniel Spoerri, Ben Vautier, La Monte Young, will haunt the gallery’s space with an unitary and sublime installation, fairly praising the extraordinary harmony of silence: twelve pianos, outstretched and suspended in the air, personalized and altered by each artist, through their gaze and their sight of truth; they will create the ideal extension for our senses to perceive the present and crossover time, which through excellence and beauty remains every trice still.

Piano is the widest instrument among all, since the time of its invention made in Florence two centuries ago. Visually a sculpture, closed or open, a privileged place of creation, not just by harmonious experience but also struggle, along those milliard endless  routes of modern artistic research. From Arman’s Flaming Pianos of 1963, to those wrapped by Christo in the same year and, earlier, to the piano dismantled by the Fluxus movement in 1962 in Wiesbaden, to our days. Each one of these actions is emblematic of a very strong affinity and connection between artists who made the avant-garde and this instrument.

Pianofortissimo #2 revives the great exhibition realized in 1990 at Fondazione Mudima and in 1991 at Venice Biennale, to celebrate and perform the same emotions and the same glorious coming.

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