382:(untitled) is a piece created out of bamboo branches, bonfire, Pyrex pot, and cement bricks. A bundle of bamboo sticks are suspended 40 cm above the floor. Below this, Zorio built a small fire between two cement blocks, on which he balanced an upturned Pyrex dish. When talking about this piece, Zorio comments that “In my work... I see and proceed... with discontinuous movements; it is a way of acting and reflecting that takes into account senses of time and impulses that are at times very short while at other highly extended; it is a kind of exploration in which, sometimes, I am surprised to discover the remains of an old campsite of mine... It would be enough to light the fire again."
420:
open ends that were raised to the level of a standing persons height. This work becomes interactive when the spectator speaks into one end of the tube. His voice is then filtered, as it runs through the tube, and comes out at the other end of the tube "purified." This work was originally shown at the 1970 "Gennaio '70: Third
International Biennial of Young Painting," Bologna. Zorio commented on this work saying, "Alcohol is a mystic liquid. It is also called 'spirits.' It disinfects, burns, inebriates, it transforms and modifies perception." -
348:(Pink-blue-pink) Zorio created a half-cylinder of asbestos cement that contains a mixture of cobalt chloride. This causes it to changes color from pink to blue in relation to changes in atmospheric humidity. A defining feature of this work is, therefore, the contrast between its elemental form and its instability, including the static structure and its ability to change, identifying not in a state of quiet, but in an energetic process in perpetual transformation, thanks to which, the time becomes a constitutive element of the work.
397:(Burnt writing) is one of the sculptures which he used as part of a performance, as well as a stand-alone piece. A heated copper plate was placed inside a rectangular wire cage. A sheet of copper was attached to one side of the cage to make a ledge where Zorio placed a sheet of paper and a pen with invisible ink on top of it. Zorio wrote messages on the paper in invisible ink and dropped the page onto the hot plate where the words became visible for a few seconds until the paper burnt up. It was first exhibited at
31:
251:
367:(untitled) is a performative sculpture. Zorio took a bowl and filled it with a mix of bright yellow sulphur powder and iron powder. In the bowl of powder is a magnetic handle. As the participant drags the handle along the powder, it picks up the black iron powder thus creating black marks across the surface. Eventually the handle loses its magnetic pull and the iron will start falling back into the sulphur mixture.
1101:
165:
given system, or on changes caused by outside intervention (e.g., by the viewer). These events and changes take place within the work occurring at a slow pace, turning the weight and impact of time and the relentless rhythm of nature into something tangible. Energy, both on the physical-chemical and emotional level, is common to all these processes. These concepts can be seen in pieces such as:
451:
a cigarette. The smoke made it so that the artist could barely be seen. Another version was created by Zorio in 1971 when Zorio wrote "confine" on a gallery wall with luminous ink which was visible only when the lights were off. Every four minutes the lights would turn off for a few seconds to reveal the hidden ink before the lights turned on again.
313:
is a work that plays with the laws of physics and chance. Zorio took a green cloth, which was soaked in salt water, draped it over a metal scaffolding, and clamped it in place. The salt water ran through the cloth and onto the ground, where it evaporated, leaving traces of salt on the cloth. This was
236:
Zorio has stated that his belief in art is that “It can’t be masked or disguised, and I think I can say that of the work of so many artists, it can't be masked or hidden or disguised. And that I think is a very positive fact, I mean you can physically destroy a work of art, you can try and affect its
193:
Since his first exhibition at the
Galleria Sperone in Turin in 1967, Gilberto Zorio's work has been linked to the history of Arte Povera. These first productions were strange objects, which were results of completed actions or ones that are still under way. Next came his work involving the action and
164:
Zorio's early pieces done between 1966 and 1968 concretized energy processes. These works utilized the process of chemical reactions or simple physical actions (such as oxidation, evaporation, refining, or electric transmission). These early works are based on autonomous changes taking place within a
157:
A lot of Zorio's early work tended toward that which the North
American artist Robert Morris identified as a 'dedifferentiation' between the materials and forms of art in post minimalist sculptural practice. This led to Zorio presenting objects that asserted dynamic relationships with their materials
450:
were created. In one the word confine was written in incandescent wire and hung in a room. Another version was created by photographer Paolo Mussat Sartor in 1971. Sartor used long exposure to photograph the artist sitting in Sartor studio with the word "confine" written in the air from the smoke of
351:
Germano Celant, an
Italian art historian, critic, and curator, commented on this piece saying, "Thus this involves a time system that reacts to the changes that concern it, and its formal equilibrium, in the absence of an optimal or quiet state, is changed by external intervention; to experience the
271:
Stars are a recurring theme in
Gilberto's work. It became an obsession and he saw it as a part of the public imagination. He described his processes in these works by stating "I have done nothing more than make it, drag it in, and make use of it in favor I know not what of, though I hope and believe
332:
Zorio commented on this piece saying, “Rubber is a plant material, it becomes very hard with this cement that runs over it and it doesn’t touch the ground, in a terrifying balance, where the air chamber supports the overturned capital pipe. It is as if the breath were missing from a historic being,
419:
was one of the first of Zorio's large series. This work is intended to be an interactive piece which facilitates the alchemical transformation of spoken language by filtering through alcohol. A long tube of soft hemp was filled with alcohol and attached to a metal frame. The tube was left with two
262:
Like many of the artist of the expanded Arte Povera movement, Zorio professed faith in and practiced alchemy. This added to the reasons why Zorio identified with the luck-bringing five pointed pentagram, which is the symbol of Venus. Many of his pieces were influenced by this belief and influenced
232:
Later in life, Zorio commented on the beginning of the Arte Povera movement and his role, with the other artists of the Arte Povera movement, that "leaving the box or leaving the framework, acting outside the framework, I don't know whether that was understood as a gesture of liberty, of freedom,
121:. His sculptures, paintings, and performances are often read as metaphors for revolutionary human action, transformation, and creativity. He is known for his use of materials including: incandescent electric light tubes, steel, pitch, motifs, and processes through the use of
280:
Zorio has worked with the idea of canoes throughout his career. He created these using assorted materials such as pitch or steel. He describes a canoe as " A javelin of water, it is desire and dream, forward motion, the idea of effort, conquest, new landfalls."
213:, a radical piece where flaming torches, suspended above the ground, fall causing the collapse and destruction of the work itself. In 1969 he also exhibited in Paris for the first time along with New York for the event "Nine at Castelli" where, with
149:(1963-1970). Zorio originally studied painting, but he soon moved on to sculpture and had his first solo show of three-dimensional works in 1967 at the Galleria Sperone, Turin. He continued to live there and teach after he graduated.
352:
work, the viewer must be present, since it is his or her presence that necessarily transforms the appearance of the work. The change of color is not dictated by aesthetic principles, but by an extra-artistic element."
466:
in 1984. That piece was formed of an elongated terracotta triangle which was balanced on a crucible. Zorio created this series out of many unconventional materials including: wood, leather, javelins, copper sulphate,
924:
Arte povera in collezione : Giovanni
Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, Gilberto Zorio;
233:
whether we were understood as a force saying 'Here we are, we are ready to enter into dialog' I think a lot has to do with perception of the other and what happens around the perception of the other.”
289:
Javelins are a recurring theme in Zorio's work. He used javelins as stand-alone objects and has also used them to work into other the themes. An example of this can be found in Zorio's piece titled
329:(Column). This piece is a simple column made of asbestos that crushes a rubber tube. Zorio created three works with the same materials and dimensions that have been realized with the same title.
479:
is a real and symbolic piece which suggest fluidity, action, and speed. Zorio uses stars and crucibles in conjunction with his canoes which are associated with sailors and navigation.
664:
263:
his choice in materials. An example of this is found in his pieces using mine lamps. One can interpret the lamp as a symbol for the enlightenment of the spirit.
293:(Star of javelins). According to Zorio, the javelin is an instrument whose "design has been perfected through the millennia (and has) reached absolute beauty."
158:
and spatial or environmental context. This can be seen in Zorio's semi-cylinder of cobalt chloride which changed color in reaction to the spectator's presence.
434:
Zorio has used text as image throughout his career. He uses many different materials in the creation of these works. Examples of these are in pieces such as:
86:
Scrittura bruciata (Burnt writing), Torcia (Torch), Tenda (Tent), Odio (Hate), Confine incandescente (Incandescent border), Rose-Blu-Rosa (Pink-Blue-Pink)
650:
471:, and alcohol. Morio's installations have a strong spatial presence, and his canoe has the same aerodynamic feel as the tips of his javelin piece,
495:
333:
one might speak of feelings, of forces and relationships between present and past, but interpretations risk missing the mark."
1135:
932:
906:
883:
791:
767:
314:
shown at
Sperone gallery, Turin, in Zorio's solo show in 1967. It was shown again in 'Con temp l'azione', in Turin in 1967.
808:
255:
1130:
1125:
743:
609:
198:("hate" in Italian), a word inscribed with an ax in a wall. The role of words and speech is essential in these pieces.
668:
1082:
1057:
1032:
1007:
835:
634:
145:
Zorio studied at the Scuola di arte e di ceramica (School of Arts and
Ceramics) and then the Academy of Fine Arts in
1105:
237:
intrinsic strength as a result of the context in which it exists, but I don't think you can actually change it."
982:
957:
860:
576:
522:
402:
161:
Throughout his career, Zorio was influenced by
Michelangelo Pistoletto, Piero Gilardi, and Mario Merz.
36:
538:
401:, Paris, 1969, and was shown later that year as part of the exhibition "Op losse schroeven" at the
1145:
601:
593:
1140:
1120:
8:
644:
734:
Malsch, Friedmann; Meyer-Stoll, Christiane; Pero, Valentina; Disch, Maddalena (2010).
1078:
1053:
1028:
1003:
978:
953:
928:
902:
879:
856:
831:
787:
763:
739:
630:
605:
594:
572:
518:
468:
398:
214:
55:
206:
712:
690:
539:"Gilberto Zorio - Artist, Fine Art Prices, Auction Records for Gilberto Zorio"
1114:
106:
51:
812:
226:
129:. He also creates precarious installations using fragile materials such as
218:
122:
110:
94:
74:
30:
113:
movement. Zorio's artwork shows his fascination with natural processes,
222:
250:
114:
738:. Translated by Paul Aston. Heidelberg: Kehrer. pp. 29–37.
1100:
118:
1077:(Repr. in paperback. ed.). Berlin: Phaidon. p. 176.
1052:(Repr. in paperback. ed.). Berlin: Phaidon. p. 174.
1027:(Repr. in paperback. ed.). Berlin: Phaidon. p. 172.
1002:(Repr. in paperback. ed.). Berlin: Phaidon. p. 170.
977:(Repr. in paperback. ed.). Berlin: Phaidon. p. 173.
952:(Repr. in paperback. ed.). Berlin: Phaidon. p. 171.
855:(Repr. in paperback. ed.). Berlin: Phaidon. p. 170.
830:(Repr. in paperback. ed.). Berlin: Phaidon. p. 171.
596:
Site-specific art : performance, place, and documentation
217:, they were the only European artists, faced with artists of
146:
126:
733:
600:(Repr. ed.). London, Angleterre: Routledge. pp.
784:
Arte Povera A Film by Sergio
Ariotti & Beatrice Merz
760:
Arte Povera A Film by Sergio Ariotti & Beatrice Merz
475:(Star of javelins). This element is common in his work.
736:
Che fare? : arte povera : the historic years
569:
Performing nature explorations in ecology and the arts
517:(1. publ. ed.). London: Routledge. p. 912.
426:
922:Gianelli], mostra e catalogo a cura di Ida (2000).
109:) is an Italian artist associated with the Italian
1072:
1047:
1022:
997:
972:
947:
850:
825:
625:Ferrari, a cura di Danilo Eccher, Roberto (1996).
408:
713:"Conversations | Artist Talk – Arte Povera Today"
691:"Conversations | Artist Talk – Arte Povera Today"
1112:
566:
385:
551:
272:in favor of a need for energy and amazement."
921:
898:
875:
567:Giannachi, Gabriella; Stewart, Nigel (2005).
649:: CS1 maint: multiple names: authors list (
515:Encyclopedia of contemporary Italian culture
201:Zorio participated in the famous exhibition
556:. Amsterdam: Institute of Contemporary Art.
811:. University of California. Archived from
29:
1073:Christov-Bakargiev, Carolyn, ed. (2005).
1048:Christov-Bakargiev, Carolyn, ed. (2005).
1023:Christov-Bakargiev, Carolyn, ed. (2005).
998:Christov-Bakargiev, Carolyn, ed. (2005).
973:Christov-Bakargiev, Carolyn, ed. (2005).
948:Christov-Bakargiev, Carolyn, ed. (2005).
851:Christov-Bakargiev, Carolyn, ed. (2005).
826:Christov-Bakargiev, Carolyn, ed. (2005).
512:
249:
629:. Torino: Hopefulmonster. p. 208.
624:
336:
1113:
370:
355:
194:reaction of the artist's body like in
188:
806:
591:
454:
117:transformation, and the release of
13:
14:
1157:
1094:
500:Union List of Artist Names Online
317:
1099:
571:. Bern: Lang. pp. 50, 270.
1066:
1041:
1016:
991:
966:
941:
927:. Milano: Charta. p. 282.
915:
901:. Milano: Charta. p. 281.
892:
878:. Milano: Charta. p. 281.
869:
844:
819:
800:
776:
752:
727:
705:
301:
209:in Bern. There Zorio presented
683:
657:
618:
585:
560:
545:
531:
506:
488:
446:. Three different versions of
284:
1:
809:"Gilberto Zorio / MATRIX 152"
513:Moliterno, Gino, ed. (2000).
482:
152:
1136:Italian contemporary artists
140:
7:
10:
1162:
1131:Italian conceptual artists
552:Lipschutz-Vila, E (1992).
403:Stedelijk Museum Amsterdam
245:
203:When Attitudes Become Form
37:Museum of Fine Arts, Ghent
1126:People from Andorno Micca
266:
240:
90:
80:
70:
62:
44:
28:
21:
680:- Translated from French
462:Zorio created his first
417:Per purificare le parole
410:Per purificare le parole
296:
275:
502:. J. Paul Getty Trust.
422:Gilberto Zorio," 1985.
259:
35:Gilberto Zorio in the
1108:at Wikimedia Commons
807:Lewallen, Constance.
473:Stella di giavellotti
428:Confine incandescente
291:Stella di giavellotti
253:
205:(1969), organized by
786:. Hopeful Monsters.
762:. Hopeful Monsters.
592:Kaye, Nick (2000).
254:Gilberto Zorio, at
189:Role in Arte Povera
395:Scrittura bruciata
387:Scrittura bruciata
260:
183:Senza titolo, 1968
179:Senza titolo, 1967
1104:Media related to
934:978-88-8158-316-4
908:978-88-8158-316-4
885:978-88-8158-316-4
793:978-88-7757-252-3
769:978-88-7757-252-3
496:"Zorio, Gilberto"
469:hydrochloric acid
444:Fluidità Radicale
399:Sonnabend Gallery
137:within his work.
100:
99:
1153:
1103:
1089:
1088:
1070:
1064:
1063:
1045:
1039:
1038:
1020:
1014:
1013:
995:
989:
988:
970:
964:
963:
945:
939:
938:
919:
913:
912:
896:
890:
889:
873:
867:
866:
848:
842:
841:
823:
817:
816:
804:
798:
797:
780:
774:
773:
756:
750:
749:
731:
725:
724:
722:
720:
709:
703:
702:
700:
698:
687:
681:
679:
677:
676:
667:. Archived from
661:
655:
654:
648:
640:
622:
616:
615:
599:
589:
583:
582:
564:
558:
557:
549:
543:
542:
535:
529:
528:
510:
504:
503:
492:
215:Giovanni Anselmo
131:Stella di Bronzo
83:
56:Kingdom of Italy
33:
19:
18:
1161:
1160:
1156:
1155:
1154:
1152:
1151:
1150:
1111:
1110:
1097:
1092:
1085:
1071:
1067:
1060:
1046:
1042:
1035:
1021:
1017:
1010:
996:
992:
985:
971:
967:
960:
946:
942:
935:
920:
916:
909:
897:
893:
886:
874:
870:
863:
849:
845:
838:
824:
820:
805:
801:
794:
782:
781:
777:
770:
758:
757:
753:
746:
732:
728:
718:
716:
711:
710:
706:
696:
694:
689:
688:
684:
674:
672:
663:
662:
658:
642:
641:
637:
623:
619:
612:
590:
586:
579:
565:
561:
550:
546:
537:
536:
532:
525:
511:
507:
494:
493:
489:
485:
460:
432:
414:
391:
376:
361:
342:
323:
307:
299:
287:
278:
269:
248:
243:
207:Harald Szeemann
191:
155:
143:
81:
58:
49:
40:
24:
17:
12:
11:
5:
1159:
1149:
1148:
1143:
1138:
1133:
1128:
1123:
1106:Gilberto Zorio
1096:
1095:External links
1093:
1091:
1090:
1083:
1065:
1058:
1040:
1033:
1015:
1008:
990:
983:
965:
958:
940:
933:
914:
907:
891:
884:
868:
861:
843:
836:
818:
815:on 2013-05-10.
799:
792:
775:
768:
751:
745:978-3868281675
744:
726:
704:
682:
656:
635:
627:Gilberto Zorio
617:
611:978-0415185592
610:
584:
577:
559:
554:Gilberto Zorio
544:
530:
523:
505:
486:
484:
481:
459:
453:
431:
425:
413:
407:
390:
384:
375:
369:
360:
354:
341:
335:
325:Zorio created
322:
316:
306:
300:
298:
295:
286:
283:
277:
274:
268:
265:
247:
244:
242:
239:
190:
187:
154:
151:
142:
139:
105:(born 1944 in
103:Gilberto Zorio
98:
97:
92:
88:
87:
84:
78:
77:
72:
71:Known for
68:
67:
64:
60:
59:
50:
46:
42:
41:
34:
26:
25:
23:Gilberto Zorio
22:
16:Italian artist
15:
9:
6:
4:
3:
2:
1158:
1147:
1146:Living people
1144:
1142:
1139:
1137:
1134:
1132:
1129:
1127:
1124:
1122:
1119:
1118:
1116:
1109:
1107:
1102:
1086:
1084:0-7148-4556-6
1080:
1076:
1069:
1061:
1059:0-7148-4556-6
1055:
1051:
1044:
1036:
1034:0-7148-4556-6
1030:
1026:
1019:
1011:
1009:0-7148-4556-6
1005:
1001:
994:
986:
980:
976:
969:
961:
955:
951:
944:
936:
930:
926:
918:
910:
904:
900:
895:
887:
881:
877:
872:
864:
858:
854:
847:
839:
837:0-7148-4556-6
833:
829:
822:
814:
810:
803:
795:
789:
785:
779:
771:
765:
761:
755:
747:
741:
737:
730:
714:
708:
692:
686:
671:on 2012-04-14
670:
666:
665:"Arte Povera"
660:
652:
646:
638:
636:88-7757-066-0
632:
628:
621:
613:
607:
603:
598:
597:
588:
580:
574:
570:
563:
555:
548:
540:
534:
526:
520:
516:
509:
501:
497:
491:
487:
480:
478:
474:
470:
465:
457:
452:
449:
445:
441:
437:
429:
424:
423:
418:
411:
406:
404:
400:
396:
388:
383:
381:
373:
368:
366:
358:
353:
349:
347:
346:Rosa-blu-rosa
339:
338:Rosa-blu-rosa
334:
330:
328:
320:
315:
312:
304:
294:
292:
282:
273:
264:
257:
252:
238:
234:
230:
228:
224:
220:
216:
212:
208:
204:
199:
197:
186:
184:
180:
176:
172:
168:
167:Rosa-blu-rosa
162:
159:
150:
148:
138:
136:
132:
128:
124:
120:
116:
112:
108:
107:Andorno Micca
104:
96:
93:
89:
85:
79:
76:
73:
69:
65:
61:
57:
53:
52:Andorno Micca
47:
43:
38:
32:
27:
20:
1098:
1074:
1068:
1049:
1043:
1024:
1018:
999:
993:
974:
968:
949:
943:
923:
917:
894:
871:
852:
846:
827:
821:
813:the original
802:
783:
778:
759:
754:
735:
729:
717:. Retrieved
707:
695:. Retrieved
685:
673:. Retrieved
669:the original
659:
626:
620:
595:
587:
568:
562:
553:
547:
533:
514:
508:
499:
490:
476:
472:
463:
461:
455:
447:
443:
439:
435:
433:
427:
421:
416:
415:
409:
394:
392:
386:
380:Senza titolo
379:
377:
372:Senza titolo
371:
365:Senza titolo
364:
362:
357:Senza titolo
356:
350:
345:
343:
337:
331:
326:
324:
318:
310:
308:
302:
290:
288:
279:
270:
261:
235:
231:
227:Post-minimal
210:
202:
200:
195:
192:
182:
178:
174:
170:
166:
163:
160:
156:
144:
134:
130:
102:
101:
82:Notable work
1141:Arte Povera
1121:1944 births
1075:Arte Povera
1050:Arte Povera
1025:Arte Povera
1000:Arte Povera
975:Arte Povera
950:Arte Povera
899:Gianelli],
876:Gianelli],
853:Arte Povera
828:Arte Povera
715:. Art Basel
693:. Art Basel
458:(1984-1991)
430:(1970-1971)
285:Giavellotti
219:Process Art
123:evaporation
111:Arte Povera
95:Arte Povera
63:Nationality
1115:Categories
984:0714845566
959:0714845566
862:0714845566
675:2012-05-02
578:3039105574
524:0415145848
483:References
153:Early work
115:alchemical
75:Visual art
645:cite book
389:(1968-69)
229:artists.
141:Education
127:oxidation
393:Zorio's
378:Zorio's
363:Zorio's
309:Zorio's
223:Antiform
91:Movement
448:Confine
440:Confine
327:Colonna
319:Colonna
258:, 1991.
246:Alchemy
66:Italian
39:in 1980
1081:
1056:
1031:
1006:
981:
956:
931:
905:
882:
859:
834:
790:
766:
742:
633:
608:
575:
521:
442:, and
412:(1969)
374:(1969)
359:(1968)
340:(1967)
321:(1967)
305:(1967)
267:Stella
241:Themes
211:Torcia
175:Piombi
119:energy
719:6 May
697:6 May
477:Canoa
464:Canoa
456:Canoa
311:Tenda
303:Tenda
297:Works
276:Canoe
171:Tenda
147:Turin
135:Acidi
1079:ISBN
1054:ISBN
1029:ISBN
1004:ISBN
979:ISBN
954:ISBN
929:ISBN
903:ISBN
880:ISBN
857:ISBN
832:ISBN
788:ISBN
764:ISBN
740:ISBN
721:2013
699:2013
651:link
631:ISBN
606:ISBN
573:ISBN
519:ISBN
436:Odio
344:For
256:IVAM
225:and
196:Odio
181:and
133:and
125:and
48:1944
45:Born
602:140
1117::
647:}}
643:{{
604:.
498:.
438:,
405:.
221:,
185:.
177:,
173:,
169:,
54:,
1087:.
1062:.
1037:.
1012:.
987:.
962:.
937:.
911:.
888:.
865:.
840:.
796:.
772:.
748:.
723:.
701:.
678:.
653:)
639:.
614:.
581:.
541:.
527:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
