MUSEO TEO: Vero_Klaus_GDC

Sabato 10 ottobre 2026, in occasione della 22ma Giornata del Contemporaneo promossa da AMACI, Museo Teo presenta È Vero, Klaus?, un omaggio al fotografo Klaus Guldbrandsen scomparso lo scorso agosto.

Per la serie Opera Unica Museo Teo presenta un lavoro frutto della collaborazione tra Klaus Guldbrandsen (1951-2026) e Véronique Champollion. L'intervento manuale eseguito da Veronique restituisce la originale magia della foto di Klaus compromessa dalla inadeguata libertà creativa di uno stampatore.

L'intervento manuale sulla fotografia ha una storia articolata e precedenti illustri, dal fotoritocco (si pensi al ritratto di Vittorio Emanuele II citato da Ugo Mulas nelle sue Verifiche) alla colorazione creativa di Schifano e Warhol, o agli interventi di Rainer sulla propria immagine. In questo caso il ritocco manuale diventa atto creativo concettuale che arricchisce ulteriormente un'opera d'arte.

La mostra costituisce il prologo della Mostra-Ricordo organizzata da Chiara Corio e Tommaso Guldbrandsen che si terrà Domenica 11 ottobre presso lo Spazio Gogol Ostello di Milano.

È Vero, Klaus?

Klaus Guldbrandsen e Véronique Champollion

c/o Giovanni Bai/Museo Teo+

Via Stromboli 3 Milano

Citofono 9

M4 California

Sabato 10 ottobre 2026

Dalle 17 alle 21

3338498282

museoteo@gmail.com

https://www.facebook.com/events/1584688316526960

https://museoteo.blogspot.com/2026/10/veroklausgdc2026.html

per Klaus

https://5fvv71.blogspot.com/2026/08/klaus.html

https://mt-nz.blogspot.com/2026/08/mtnz-188-klaus.html

MUSEO TEO ARTFANZINE

MUSEO TEO ARTFANZINE Rivista Internazionale di Arte Contemporanea Organo ufficiale dell' Associazione culturale MUSEO TEO, registrata all’Agenzia delle Entrate di Milano CF: 97424040158 Edizioni NEXT EXIT, registrazione Tribunale di Roma 240/2002 Direttore responsabile: Daniela Ubaldi Direttore editoriale: Giovanni Bai Caporedattore: Carolina Gozzini Redazione: Nicoletta Meroni, Mario Tedeschi, Paola Tabacco (Parigi), Koula Giazitzoglu (Atene), Véronique Champollion (Nizza/Antibes). Editore associato ART MOBIL – Assn. Loi 1901. ISSN 11580607

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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”.

Vero_Klaus_GDC_2026