7
The idea began in 2010 in the institutional setting of the GC.AC in Monfalcone, and with the
fundamental support of Patrizia Moroso it became an ongoing opportunity, establishing itself
from the outset in the dynamic spirit of the company to focus on research and experimentation.
The project, which includes an award, an exhibition, and a publication, establishes a concrete
means for production and promotion tied to this contemporary spirit, seeking recognition for
the participants involved. This perspective is consistent with the creative and design aspects,
a true hardcore element of the new CONCEPT, tied to the growing experience of winners in in-
ternational contexts, for greater visibility of their work. This initiative not only establishes
itself as a vehicle necessary and complementary to the often too timid national policy in
support of young artists, it is a further contribution to the mercantile character of Italian in-
dustry that is more attentive to the value of creativity. In fact, I believe that the Moroso
CONCEPT for Contemporary Art can serve as an example for a serious and concrete commit-
ment to a constructive initiative, in contrast to the crisis and economic stagnation that denote
our Western society.
With this premise and purposeful momentum the group of selectors was identified for this edi-
tion: twelve Italian art galleries that are most recognized at the international level were asked
to nominate three artists, so the final list would represent a current and comprehensive spec-
trum of artistic research going on in the country.
Based on this multifaceted platform and the rich documentary material received—thirty-six
artists known more-or-less within the Italian art system—a selection panel chaired by Paola
Pivi reduced the number to twelve finalists, distinguished by the quality of their research,
study, motivation, and intellectual coherence.
These twelve artists accepted the terms of selection, and employing their respective sensibilities
and experimental hypotheses, had the opportunity to develop proposals using as a history
case the company’s New York agency. For reviewing this new documentary material a second
international commission was formed composed of: Fabio Cavallucci, Director Centro per
l’arte contemporanea Luigi Pecci, Martino Gamper, Designer, Amanda Levete, Architect,
Jovain Jelovac, Art Director Beograd Design Week; Piero Gandini Art Director FLOS. This
commission further reduced the number of nominees to three names.
This was the most important phase in deciding this significant prize, because it was based on
a serious dialogue between professionals who work in that invisible yet tenacious thread that
connects visual art and design. The goal was to best evaluate the osmosis between the environ-
ments and the effective implementation of the projects, according to the cultural context and
the needs of the company. This was an interesting challenge and I look forward to presenting
CONCEPT, using the spaces in New York, London, and Milan as an active stage.
