Gianni Moretti


(Perugia, 1978) He lives and works between Milano and Berlin. His works have been displayed in several shows in Italy and abroad, like the two side events of the international Art Exhibition – La Biennale di Venezia: “Round the Clock” (2011); “M-O-D-U-S” (2017). He was involved in several projects of artistical stays like Harlem Studio Fellowship, New York (USA), Mongin Art Center, Seoul (ROK), GlogauAir, Berlin (D), C.A.R.S., Omegna (I), CAOS Museum, Terni (I), EcoArt residencies, ASCC (KWT). Among the awards received we can mention: in 2013, Prize Terna 05, Roma (selected finalist); SetUp Prize 2013, Bologna; Art Award Rugabella 2011, Milano; San Fedele Prize 2007, Milano (honorable mention); XXIII Prize Oscar Signorini 2006, Milano; Award Accademia Olimpica Nazionale 2006, Roma; Prize Iceberg 2005, Bologna; National Award of Arts 2003, Roma. In 2015 was appointed Academic of Prestige by the Academy of Fine Arts in Perugia and, since then, he has been teaching anatomy of the image at LABA in Brescia. In 2018 ha has designed and started the installation of the monument Anna – Monumento all’Attenzione in Sant’Anna di Stazzema, an environmental participated artwork in progress. This project was realized thanks to the MiBAC 2016 Contemporary Art plan. His work is present in public and private collections, such as: Palazzo Poggi, Bologna; Contemporary Art Museum, Lissone; MAR Museum, Ravenna; Museo della Resistenza (Stazzema); Museum of the Academy of Fine Arts in Perugia.

“In 10×100 the dialogue between artist and company proceeds along this path allowing for listening and settling.”

Since I met Giovanardi SpA Company two years ago, for the project Anna-Monumento all’Attenzione, I came into contact with an organization that, not only accomplished the project, but has actively contributed with its own know-how and its own professional and human value. I met people that embraced my ideas, listened and enriched them.

In “10×100” the dialogue between artist and company proceeds along this path allowing for listening and settling. This project, as it is structured, allows the project to nourish itself, grow and breath, instead of finding in this productive phase only a deaf moment of accelerated execution.

It’s a fertile dialogue that produces energy. An energy that reflects in all the aspects of this event: from the moment you enter the company to the moment you touch the materials, discovering possible new solutions and shapes where ideas may snuggle up and grow. It’s an opening, from a company, totally unexpected, rare and precious that I, as an artist, have the privilege to enjoy.

Capitoli di un monumento (I-XV), 2019

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