MUSEO TEO: CON I PIEDI PER TERRA

I MILLEPIEDI

Mostra collettiva di artiste e artisti a cura di Rosanna Veronesi nell’ambito della prima edizione di LiquidAZIONE ARTISTICA, festival della creatività organizzato dal comune di Fornovo Taro, sabato 9 e domenica 10 giugno 2012.

Opere di Rosanna Veronesi, Giovanni Bai/MUSEO TEO, Gretel Fehr, Ornella Garbin, Antonella Prota Giurleo, Evelina Schatz, Fausta Squatriti, Christa Wibbelt, Arifa Hashmi, Camilla Testori (bambina di cinque anni che crea opere con i suoi piedini)

Installazioni, sculture, video art, fotografia, musica, attività di laboratorio saranno presentate in vetrine, negozi, strade, borgo, paese, da artiste ed artisti provenienti da tutta Italia.

Rosanna Veronesi ha ipotizzato, all’interno dello spazio assegnato dall’organizzazione, il negozio di calzature Il Millepiedi, una serie di interventi artistici e di documentazione realizzati, oltre che da lei stessa, da altre personalità dell’arte e della cultura milanesi.

Disseminati nel negozio sarà possibile, per i visitatori e le visitatrici, leggere le diverse interpretazioni che, in modo serio o ironico, le artiste e gli artisti hanno dato dell’idea del calzare e del camminare e ripercorrere, attraverso la visione di fotografie, attrezzi da lavoro, forme di legno, le tappe della storia della calzatura.

IL MILLEPIEDI – Via Solferino 15 - Fornovo (PR)

Nell'ambito della mostra I Millepiedi è allestita la installazione
CON I PIEDI PER TERRA di Giovanni Bai/MUSEO TEO

MUSEO TEO

MUSEO SENZA SEDE E SENZA OPERE
IL MUSEO DEL TERZO MILLENNIO

Via Stromboli 3
20144 Milano

0249661061
museoteo@gmail.com

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MUSEO TEO
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ARCHIVIO STORICO MUSEOTEO
MUSEO TEO ARTFANZINE
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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”.