The 14 of November at 6.30 pm opens in Rome, in via Reggio Emilia, OREDARIA, a new space dedicated to Contemporary Art, directed by Marina Covi Celli.

The inaugural exhibition of the gallery is a solo show of Gilberto Zorio, that presents works belonging to artistic history of Zorio and unedited works dedicated to this new exhibition space.

November 14th: it begins” is the title of the exhibition, to remember the date of the first solo exhibition of Gilberto Zorio in 1967, as well as the date of birth of a new artistic reality in the art scene of Roma.

A catalogue by SKIRA editors is being prepared.

(critical essay by Achille Bonito Oliva)

 

Gilberto Zorio (born at Andorna Micca in Biella in 1944 – he works an lives in Turin) is one of the protagonist of the movement of Arte Povera,, formed in the sixties in Italy, that inserts itself in a larger group of an art of trial and error, an art that shows its proper elements and processes in their naked form and presents the materials directly, contrary to the traditional presentation.

Gilberto Zorio proposes at the same date of November 14th, 33 years after his first solo show, an exhibition that presents himself with new energy.

At the beginning, in 1967, he presented at the gallery of Gian Enzo Sperone in Turin, works that seemed simple registrations of elementary gestures (like the cylinder of eternit that is lifted balancing in a precarious way with an inner tube) and physical processes “in progress” (like the evaporation of seawater on a curtain).

Immediately, Tommaso Trini, in the text that comes with the exhibition, defines the work of Zorio “naked, totally physical” and follows smartly: “Finally I saw objects where materials, the matter, signify energy.

The concept of energy is in fact the constant presence accross the entire work of Zorio since his beginning up to the present day, from the equipment “to purify the words”, to the stars, the canoes, the “radiate machines”, all moving images.

The star, atavistic and cosmic figure, recurrent in Zorio’s work, appears for the first time in 1972 in a work where an animal skin becomes a self-portrait of the artist (the star is at the place of his eyes). Filo incandescente (1970), Giavellotto (1971), Raggio Laser (1975) are energy vectors that construct, over and over again, the form of a star. Vases, basins, melting pots, made of glass and lead constitute alchemic transformation process.

But never there is a metaphor, never there is a reference to something else (despite the archetypical values of and significant resonance that in general the star has): Zorio is interested in the force of the image, not its symbolic value, of the materials, even the more common, the possibility of combining them that generates positive conflicts and energetic tensions.

Laura Cherubini

 

INTRO

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