IN CONVERSATION WITH LORIS MORETTO OF MARSÈLL

For us, the exploration of form in all its semantic variations is fundamental, whereby knowledge is the basis of every human experience.

Loris Moretto, Head of Communications at Marsèll has been committed over the past few years to building international bridges and strengthening the dialogue between Milan and foreign creatives and cultures. Together with Marsèll, he supports numerous independent projects.

Can you explain to me what you do at Marsèll?

Since 2018 I have been in charge of all cultural and communication initiatives related to Marsèll. In recent years, thanks to the full collaboration with and trust of Marco Cima, Marsèll’s Creative Director, we built a team of people capable of managing increasingly complex and multidisciplinary projects that take place inside and outside our physical or digital spaces.

What is the philosophy behind Marsèll Paradise?

Marsèll Paradise is a platform, a meeting place where the physical and the digital merge.
Paradise began as the brand’s experimental laboratory to nurture communication with Italian artists, and over the years it has become an international bridge.
Marsèll is a brand based on the strength of diversity, each item produced in our workshops is unique and singular. Our mission is to constantly pay homage to this principle, which is why we are close to and support artistic projects.

What is the relation between Marsèll and “culture”?

For us, the exploration of form in all its semantic variations is fundamental, whereby knowledge is the basis of every human experience.

I see your campaigns are always product-free – just like images of an exhibition.

Our campaigns want to stimulate reflection, and above all strengthen our principle of independence. We follow our own method of telling a story that is different from the others.

How do you scout the talents to be exhibited at Marsèll spaces?

Research is our guiding spirit, we then have appointments that are entrusted to us and curators with whom we collaborate regularly, and then there is always room for the unexpected.

projects that take place inside and outside our physical or digital spaces…
Which are your source of inspiration for the selection?

The present is always a great source of inspiration, even if it is impossible to always be on point.
Beyond the wordplay and all the poetry, it is the people, or rather the human beings and their practice that inspires us and induces us to collaborate.

Can you talk us a bit about the project with Carsten Nicolai?

Each Marsèll collection is developed around a theme and the one for spring summer 2023 is light.
Therefore, the color palette is developed on gradients reminiscent of the colors of dawn, light, and summer sunsets. To communicate this project we were looking for an artist who had some convergence with this concept, so we arrived at Carsten. He is brilliant, he is ingenious and a scientist, but basically he understood the human dimension of our making.

What is your relation to Berlin?

I love Berlin, it is a city that inspires me so much and every time I take a flight to get there I feel great excitement. I am lucky enough to have many dear friends in the city, so I get a lot of information about what is going on. Berlin for me is a cultural reference point, at this moment there is no other city in the world that has this attractive force. I think it can also be a black hole for people who are not prepared and are lost in big ambitions, but that is another topic.

I see your selection of talents moving from the design and photo relam to the art realm – can you tell me more about this shift?

Practice and interdisciplinarity are our guiding stars..
Each activity or event is established following a principle created to generate different proposals that nevertheless maintain a certain coherence.

Can you talk us a bit about the coming exhibition with Rebecca Salvadori?

Rebecca’s Project is developed into two exhibitions, the first video installation is in progress and opened on 31 May:

The Sun Has No Shadow, a project by Rebecca Salvadori, curated by Felice Moramarco.
Presented as an immersive video installation, the film The Sun Has No Shadow is a visual journey across a series of raves, techno parties, and sound performances. A journey that develops as a spiral, starting in the periphery of London by the A14 freeway and reaching its very dense core at the club FOLD during the day raves UNFOLD.
By placing the performer in the middle of the dance floor, UNFOLD generates an unusual form of spatiality which creates alternative approaches to togetherness, physical connections and community-making.
In this visual narrative, images become sites of experimentation, whose alteration and combination in the post-production phase generates new patterns of meaning. While immersing the viewer in this cinematic continuum, the film also expands on a second level, a meta-dimension which creates a space for reflections on universal questions such as human existence and visions of life.

Messengers, on the other hand, will be take place in 3 acts also in Marsèll Paradise on 22 June 2023.

Messengers, instead, focuses on intimate conversations among artists and musicians on the nature of friendship and music. The film takes place at PAF Festival in Olomouc, Czech Republic, where Rebecca Salvadori built a temporary set and filmed a series of mise-en-scènes, exchanges, and live performances together with musicians Kenichi Iwasa and Maxwell Sterling, light artist Charlie Hope, writer, editor and curator Elaine Tam and photographer Henerico Rossi. The deconstructed film set where the mise-en-scènes took place was also open to the public audience, which became part of the film as well.

Messengers premieres at Marsèll Paradise, and on this occasion is presented as part of a hybrid event in which the screening of the film is combined with sound performance by Kenichi Iwasa, Sandro Mussida, Olivia Salvadori and Coby Sey. The lighting of the event is designed by Charlie Hope.

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