MUSEO TEO: PAESAGGI IDILLIACI > A R T E S O L A R E

GIOVEDì 13 SETTEMBRE 2012

DALLE 15 ALLE 22

IN OCCASIONE DELLA RIAPERTURA DEL

MERCATO AGRICOLO ARTIGIANALE SAN VITTORE 49

PROMOSSO DA LA CORDATA E CITTADINISOLARI X MILANO

NEL GIARDINO DEL RESIDENCE SAN VITTORE

VIA SAN VITTORE 49 A MILANO

MUSEO TEO PRESENTA

PAESAGGI IDILLIACI DI VÉRONIQUE CHAMPOLLION

SECONDA MOSTRA DEL CICLO ARTE SOLARE.

MUSEO TEO è una associazione non profit per la diffusione dell'arte contemporanea che opera attraverso l'organizzazione di manifestazioni artistiche e sociali associandosi a realtà di diversa natura per presentare l'arte in una dimensione democratica e quotidiana e, contemporaneamente, riflettere sul mondo dell’arte.

In occasione della riapertura del mercato agricolo e artigianale, accanto alle bancarelle dei prodotti biologici e a filiera corta, al book crossing e alla presentazione del libro di Altreconomia Il gambero equo, ai laboratori didattici per bambini e adulti dell’Associazione Nostrale, Museo Teo presenta la mostra di opere di Véronique Champollion Paesaggi idilliaci.

Dipinti realizzati su manifesti, che imitano gli affreschi romani di Pompei e sculture in cartapesta: la carta da giornale in vista, pallido riflesso del marmo nobile, conferisce ai personaggi un aspetto teatrale, ricordando che provengono dalla scrittura, come in un racconto interiore che dà vita a questi paesaggi idilliaci, contemporanei e atemporali.

MUSEO TEO

MUSEO SENZA SEDE E SENZA OPERE
IL MUSEO DEL TERZO MILLENNIO

Via Stromboli 3
20144 Milano

0249661061
museoteo@gmail.com

MT-NZ.BLOGSPOT.COM
MUSEOTEONETZINE

MUSEO TEO
PROGETTI IN CORSO

ARCHIVIO STORICO MUSEOTEO
MUSEO TEO ARTFANZINE
MUSE TEO NET ZINE

MUSEO TEO, THE MUSEUM OF MUSEUMS

“Museo Teo gathers the collective work of many artists as a huge permanently evolving artwork, which includes in itself a thought about the state of art and in the meanwhile is a playful place for fun and irony. A museum with no permanent establishment and no works, which stages events - usually one-day long – in unusual and always different locations or on the edge of the traditional circuits, in order to bring art back to a really democratic and daily dimension”.

Several themes are recurring because they are the nodes from which our courses of action unravel, which have been redefined in the latest years: reclaiming the territory, education to image, art and the respect for the artistic heritage as shared values, and mostly the need to create a network of creative relations in order to develop sociality and the production of sense and beauty as well.

Twenty years ago we moved from Perec’s concept in La vie mode d’emploi, by which even nothingness can have its identity, if it holds traces of its own history (“Maintenant, dans le petit salon, il reste ce qui reste quand il ne reste rien”); we went across places and non-places, we explored both traditional and hyper-modern Japan and we hoisted the flag of peace on the Atomic Bomb Dome in Hiroshima; we tried to dig into the world’s totality with a different look onto the threshold between the daily and the unknown, beyond which everything is possible, using Stephen Hawking’s statement as a metaphoric flag: “There is a universe where the moon is made of cheese and where Elvis is alive. Ours is only one of the possible kinds of universe”.

In the editorial of issue four we stated: “We are nomads, vagabonds and travellers of the imaginary; we always bring with us something to amuse ourselves and something to think about” and on issue five: “Artificial intelligence? Intelligence would be enough for us. The normal, average one.” And many times we had to appeal to that simple proposition, in the process of our work with the Hip-Hop shaman’s spirit which Lea Vergine ascribes to us, “roaming allegory, innocent and sulphur conscience of the art world, embarrassing presence for old and new mandarins”.