Moroso introduces the 2015 Moroso Concept for Contemporary Art, its 4th edition

Moroso is announcing the names of the 36 entrants and the patroness of the 2015 Moroso Concept for Contemporary Art. Born as the Moroso Award in 2010 from an idea by Andrea Bruciati and supported by Patrizia Moroso, as from 2015 the award will be known as the Moroso Concept. This initiative confirms its purpose of documenting, giving prominence to and supporting artists working in Italy in a broad diversity of expressive forms.

Moroso’s passion for contemporary art has gradually become a distinctive trait of the company thanks to its continuous research and experiments in creating new products; the brand’s ability in developing custom-made projects; and, last but not least, Patrizia Moroso’s deep interest in artistic disciplines. In fact, the brand has worked for years with the world’s most prestigious cultural institutions, such as MoMA in New York, the Palais de Tokyo and the Grand Palais in Paris, and the International Biennale of Visual Arts in Venice; and with international artists, including the latest projects with Marina Abramovic (Art Miami Basel 2014) and Paola Pivi (Manifesta 2014).

The long list of artists competing for the 2015 Moroso Concept was compiled by 12 of the most internationally renowned Italian art galleries: Continua, San Gimignano (Siena), Les Moulins Boissy-le-Châtel (Seine-et-Marne) and Beijing; Fluxia, Milan; Frutta, Rome; La Veronica, Modica (Ragusa); Giò Marconi, Milan; Francesca Minini, Milan; Monitor, Rome; Franco Noero, Turin; P420, Bologna; Lia Rumma, Milan and Naples, Tucci Russo, Torre Pellice (Turin); and Zero…, Milan.

The names of the 36 artists invited to participate in this year’s award are: Alfredo Aceto, Alessandro Agudio, Alis / Filliol, Francesco Arena, Francesco Barocco, Riccardo Benassi, Barbara Boiocchi, Davide Bramante, Alice Cattaneo, Giulia Cenci, Alessandro Ceresoli, Cristian Chironi, Emma Ciceri, Luca De Leva, Giuio Delvé, Gabriele De Santis, Sara Enrico, Silvia Hell, Renato Leotta, Domenico Mangano, Beatrice Marchi, Daniele Milvio, Andrea Nacciarriti, Gianandrea Poletta, Luca Pozzi, Andrea Romeno, Marzia Corinne Rossi, Matteo Rubbi, Erik Saglia, Manuel Scano, Francesco Joao Scavarda, Lorenzo Scotto di Luzio, Gabriele Sedda, Marinella Senatore, Namsal Siedlecki and Carlo Gabriele Tribbioli.

A first selection will emerge from a discussion amongst the jury, which is composed of Andrea Bruciati, independent curator; Patrizia Moroso, Moroso’s art director; and Marina Abramovi, internationally famous artist, winner of the Golden Lion at the 1997 Venice Biennale and patroness of this year’s event. This first screening will produce a shortlist of 12 candidates who will be asked to make a themed work conceived specifically for Moroso’s venues. The 12 projects will then be presented at a major exhibition held from Mar. 28 to May 24, 2015 in the beautiful setting of Villa Manin in Passariano (Udine).

In the last phase, a second jury made up of famous names in architecture, design and the arts world will select, from among the 12 finalists, three artists who will then be offered the opportunity of producing their site-specific work in Moroso’s New York, London and Milan showrooms as from 2016.

The biennial exhibition is only the tip of the iceberg of a full range of activities developed and held through the year as an integral part of the project. Moroso Concept seeks to be a platform and network serving to stimulate dialogue and functional exchange between the new exponents of contemporary creativity and a representative brand of Italian manufacturing excellence such as Moroso, keeping a perspective of creative and functional experimentation. Moroso Concept is in fact a unique example of cooperation between institutions and the corporate world, thus proving the excellence of a research-driven format that is innovative in both entrepreneurial and institutional terms.


The magnificent complex of Villa Manin, in Passariano in the municipality of Codroipo and province of Udine, is one of the most important artistic monuments of the Friuli Venezia Giulia region and one of the best-known symbols of regional tourism and culture. 

The villa was built in the 17th century by Ludovico I Manin to celebrate his family’s wealth and power. The Manins used it as a country residence.

The life of this majestic complex went hand-in-hand with the historical and political events that affected this area. And so it was that in the late 18th century, at the time of the last doge of Venice, Ludovico Manin (1789-1798), the villa became the headquarters of the French troops led by Napoleon Bonaparte, who stayed here in 1797 during his Italian campaign. Napoleon chose this sovereign’s residence as his headquarters and it was here that he drew up a new European order.

The salons of the doge’s residence hosted the major negotiations for the Treaty of Campo Formio (Oct. 17,1797) that marked the end of the Republic of Venice, which was handed over to the Austrian empire.

This change signalled the inevitable decline and ultimately the end of the power of the Manin dynasty. This led in the 19th century to the decay of the villa due to the Manin family’s weakened finances. Villa Manin was purchased in the second half of the 20th century by the National Agency for the Veneto Villas and later, in 1969, by the Autonomous Region of Friuli Venezia Giulia, the present owner.

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