Gilberto Zorio (born in 1944) is an Italian artist associated with Arte Povera, an artistic movement born in Turin at the end of the 1960s, which included artists such as Anselmo, Calzolari, Kounellis, Merz. Through the use of so-called "poor" materials, Arte Povera was above all a temporal and active experience, inscribed into the totality of human activities. Thus, the notion of energy, no longer represented but experienced in a physical dimension, is at the very core of Zorio's work, whose singular approach makes materials the vehicles through which action can take place. Zorio's pieces request that the experience between work and man can be constantly renewed, therefore designating the work as a space for transmutation, art as a search for essence. Structures in balance developed around directional axes, Zorio's installations always express a tension between the elements which, despite their apparent disparity, are complementary.
Zorio is interested not only in unconventional materials, but also in ways of making visible a so-called “raw” energy that will be at the heart of all his work. In 1967, Gilberto Zorio had his first solo exhibition at the Galleria Sperone in Turin, where he presented a work that has since become famous: Rosa-Blu-Rosa. This seemingly innocuous work is composed of a cylinder of Eternit, cut lengthwise, and filled with cobalt chloride. This chemical component changes colour, from pink to blue, in response to variations in atmospheric humidity.
His work was presented in the exhibition “Untitled, 2020. Three perspectives on the art of the present” (2020) at Punta della Dogana, through two emblematic pieces: Rosa-blu-rosa, 1967 and Macchia II, 1968.