(Campobasso, 1935 – Rome, 2012)
Gino Marotta debuts in 1957 with a solo exhibition presented by Emilio Villa at Montenapoleone Gallery in Milan, where he exhibits a series of different subjects, styles and techniques (tapestries, encaustics and amalgams of sand). Since the mid-60s Gino Marotta shows an increasingly marked attention to new chemical/industrial materials, specifically for methacrylate, commonly known as perspex. The artist uses poetically this hyper-technological material by acquiring lyrical universes populated by trees, animals, lightning and starry skies, as in the famous installation Bosco naturale-artificiale (Foligno, 1967). Between 1966 and 1975 the artist's exhibition activity is very intense, with several solo and collective exhibitions in Milan, Rome, Turin, Brussels, Düsseldorf and Paris. In 1972, took part in the Italy. The new Domestic Landscape exhibition at the Museum of Modern Art of New York, and created the sets for Carmelo Bene’s film, Salomè a collaboration that had a sequel in the theatrical works, Nostra Signora dei Turchi, of the same year, and Hommelette for Hamlet of 1987. A major anthological exhibition was dedicated to him in the Rotonda delle Besana in Milan in 1973, and he produced an Eden Artificiale (Artificial Eden) in the gardens of the XV Triennale, comprising installations in methacrylate in which, amongst the trees and palms, crocodiles, rhinoceroses, dromedaries, ostriches and panthers could be seen. In his personal room at the Biennale of Venice in 1984, he exhibited Rovine dell’Isola di Altilia, an Installation of travertine, onyx, onion marble and levant marble. Among the numerous exhibitions of this most recent period, it is worth noting: the anthological exhibition, Metacrilati at the Complesso del Vittoriano in Rome (2001); the large Albero della vita (Tree of life) in the Artisti italiani del XX secolo alla Farnesina exhibition (2001); the one-man Metacrilati at the PICI Gallery in Seoul (2004), which also travelled to New Delhi, Karachi, Islamabad, and the Taipei Moma Gallery in Taiwan in the same year; the one-man Natura e Artificio at the Scuderie Aldobrandini at Frascati (February 2005). For the FIAC of 2005, he was present in Paris with three different exhibitions. In November, a 1957 work, Il Vigilante (The Watchman), was exhibited at the Scuderie del Quirinale in Rome as part of the Burri, gli artisti e la materia 1945-2004 exhibition.
Among the most important exhibitions we can mention: Ceroli, Kounellis, Marotta, Pascali 4 artistes italiens plus que nature, Louvre (Paris, 1969); Vitalità del negativo nell’arte italiana, 1960 – 1970, Palazzo delle Esposizioni (Rome, 1970-71); Italy. The new domestic Landscape, MoMA (New York, 1972); Biennale di Venezia (Venice, 1984-2011); Metacrilati, Galeria Pici, (Seoul, 2004); Gino Marotta, Studio Giangaleazzo Visconti (Milan, 2007); Artisti italiani del XX alla Farnesina, Ministero degli Esteri (Rome, 2001); Italics: Italian Art between Tradition and Revolution 1968–2008, Museum of Contemporary Art of Chicago (Chicago, 2009).
Gino Marotta, Perugino amore mio, 1970
Mixed media on wood, methacrylate, photo
cm 113,5 x 140 x 3,5