MUSEO TEO: TAIBAI

TAIBAI - LA FORESTA DELLE CRAVATTE

Domenica 15 dicembre 2013, nell’ambito dell’evento “…più buoni per l’arte…”, MUSEOTEO inaugura la mostra TAIBAI - La foresta delle cravatte a cura di Giovanni Bai e Greta Mangiagalli.

La terza mostra del ciclo del viaggio che MUSEOTEO presenta nella Stazione Repubblica del Passante Ferroviario di Milano nell’ambito della Rassegna ARTEPASSANTE promossa dall’Associazione Le Belle Arti, è dedicata alle cravatte.

Dopo borse e T-shirt l’oggetto del viaggiatore si fa più specializzato. Ma non si tratta dal generico oggetto ornamentale (essenzialmente) maschile, ma della cravatta come tratto distintivo del viaggiatore periurbano professionale, il giapponese sarary-man che affronta quotidianamente ore di metropolitana e ferrovia - mezzi di trasporto equiparabili al Passante Ferroviario - per recarsi al lavoro.

Ideata da Greta Mangiagalli, la mostra si avvale della collaborazione di Giovanni Bai, direttore di MUSEOTEO, che ha messo a disposizione la sua collezione di cravatte, che saranno appese come a formare una vera e propria foresta, una foresta di cravatte (anzi, una vera e propria jungla…).

Si ringraziano per la collaborazione:
Patrick Caulfield, Massimo Iosa Ghini, Matt Groening, Francesco Hayez, Vassily Kandinsky, Fernand Léger, Memphis, Nicoletta Meroni, Luciano Monti, Piera Perdoni, Pablo Picasso, Henri Rousseau, Jean Tinguely, Laura Todeschini, Vincent Van Gogh, National Portrait Gallery, Shanghai Museum, Palazzo Grassi, Topkapi Palace Museum, Musées royaux des Beaux-Arts de Belgique e Museu Marítim de Barcelona.

La mostra è visibile tutti i giorni negli orari di apertura della stazione.

TAIBAI

MEZZANINO DELLA STAZIONE REPUBBLICA

PASSANTE FERROVIARIO di MILANO

DOMENICA 15 DICEMBRE 2013

DALLE 18 ALLE 21

...più buoni per l'arte...

MUSEO TEO

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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”.