WorldWideMilan
(Nous, nous ne sommes pas toujours ici. Ou là)
«Maintenant, dans le petit salon, il reste ce qui reste
quand il ne reste rien». It was by quoting George Perec
that Museo Teo started its creative journey in 1990. And it
did so by reflecting on space and memory, within a house that was going to
be left soon. «What remains when nothing remains’ are traces: dusty
shadow lines belonging to paintings and furniture on walls then left
bare. In the same way our traces remain on the territory as a result of
the making of a creative relationship network. Things change, people change,
even the name itself (Museoteo+), perhaps time and modes change, but the
essence does not alter. It is a practice whose suggestions remain also thanks
to Museo Teo Artfanzine magazine. Those bare walls
briskly filled with artworks, and rooms packed with hundreds of people only to
get back to their oblivion in a few hours. That was the way in which «the third millennium museum,
without any official location nor permanent collection, cross-sectional and
travelling …» was born. Still
today MuseoTeo+ identifies with its originary claim.
Without any definite physical
space in which to display, nor to preserve artworks, Museoteo+ every time has to (must) find not only a different
exhibit space: artists and works may differ, as our hosting places are not
always the same – often from one day to the other. «We are (not) always here…or
there». Museoteo+ does
not move exhibitions, it moves its entire self and, in doing so, it
lightheartedly and ironically explores social milieus through contemporary art.
It gives life to an ever-shifting collective artwork, a way of living which
comprises its how-to instructions.
As a mainly Milan-based
reality, Museoteo+ has been working nonetheless all over
Italy, but it reached as far as Shanghai, San Francisco or Tokyo. Anyhow, Museoteo+ values
encounters, people and places, and their reciprocal relationships. Museoteo+ is
now arrivng in Paris, where it plans to present the work of artists who
research art for its relational and identitary aspects, who leave, in other
words, recognizable traces, if not ever-lasting, of their work, who talk about
journeys, transfers, shifts and, most of all, about people.
Milano, mondo – WorldWideMilan – is part of
the program of events promoted by the Italian Institute for Culture in
Paris and dedicated to the city of Milan: it won’t be an exhibiton
talking about Milan, but it will deal with the world as seen from Milan, a city
that aspires to become the driving force towards a worldwide culture. In the
exhibition, visitors will also find all past issues of MuseoteoArtFanzine on
display, but most importantly, they will confront with the artists’ researches, some
already published in the magazine, or displayed in different Paris exhibitions
but also some others which have been expressedly created for the Hotel
de Galliffet, where the Italian Institute for Culture in
Paris is located.
According with this
worldview, Museoteo+ does not exclusively bring forth the
experience of its originary founding core of artfellows, but in trying to make
different generations meet, it sides young to broad experienced artists, each
of them with common interest in narrating stories of people and places, a
common way of travelling around the world, and of course the common excellence
of their productions. In the exhibition Milano,
Mondo/WorldWideMilan, Museoteo+ is
presenting the artworks of Museoteo+ historical artists:
Giovanni Bai, Carolina Gozzini, Mario Tedeschi e Klaus Guldbrandsen (Milan),
Veronique Champollion (always travelling to and from Antibes and Milan) and Gea
Casolaro (who lives between Rome and Paris) in but also the
representatives of the younger generation as Camilla Cerea (who lives in
New York) and Lorenzo Barassi (living and working in Tokyo).
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