Gino Marotta was born in Campobasso, 20 June 1935 he was an Italian painter and sculptor active in contemporary art.
Born in Campobasso in 1935, he lived and worked many years in Rome. In his first personal exhibition, in 1957 in Milan, he exhibited tapestries, encaustic and velatini, followed by lead, aluminum and bandoni (iron sheets found and assembled) that he will present in Rome at the Galleria Appunto and in Milan at the Galleria dell'Ariete, in 1959. In the laboratories of chemical industries, factories and foundries, he experiments with new materials such as polyurethanes and polyesters and creates sculptures using industrial processes for mass production. The vocation for the use of new materials continues in the sculptures cut out in the methacrylate that are soon transformed into Environment as the Natural-Artificial Wood (1967), the New Paradise (1968), the Artificial Eden (1969) and Misura Naturale Cava ( 1970). In 1968 he took part in the exhibition Il Teatro delle Mostre at the La Tartaruga gallery in Rome with the Foresta di menta installation, a long series of green threads made from plastic materials that give the impression of hanging lianas. It is the same year Italian Garden, an urban-style intervention, in which he ranks hay bales, during the event organized by Germano Celant in Amalfi on Arte Povera.
He participates in some of the most interesting exhibitions of contemporary Italian art such as The image space in Foligno in 1967, "Amore Mio" in Montepulciano in 1970 and "Vitality of the Negative" at the Palazzo delle Esposizioni in Rome in 1970-71.
In 1969 the exhibition Ceroli, Kounellis, Marotta, Pascali 4 artistes italiens plus que nature at the Musée des Arts Décoratifs, Palais du Louvre, Paris.
He was invited to the IX Quadrennial of Rome (1965-66) and later, in 1972 to the X Quadrennial with the installation General introduction to nature.
In 1973 the anthological exhibition at the Rotonda della Besana in Milan, the exhibition of the Artificial Eden-environment in the Gardens of the XV Triennale of Milan in the section Contact art-city next to the interventions of Arman, Burri, De Chirico, Hundertwasser, Matta and other.
In 1984 he participated with the ruins of the island of Altilia at the XLI International Art Exhibition in Venice.
Some of his works, including the Tree of Life methacrylate sculpture, are part of the Ministry of Foreign Affairs'
It is 2007 of Gino Marotta. Artificial Natural, ARATRO, Archives of the Electronic Arts, University of Molise, Campobasso, curated by Lorenzo Canova, which marks the inauguration of the university's exhibition space, of which the artist from Campobassano is named honorary director. In Milan, Studio Giangaleazzo Visconti sets up two solo exhibitions: Gino Marotta Anni Cinquanta (2007) and Gino Marotta amore amore (2009) In 2009, at the reopening of the MACRO in Rome, he exhibited for the first time the Virtual Recognition of the Savannah ten meters long installation that uses some of the most modern technologies such as LEDs and lasers. He has collaborated in various architectural works including the façade of the Synagogue of Livorno (1960-1961), the ceiling of the Palazzo RAI in Rome (1964) and the stained glass window of the Congress Center of Bergamo (1990-1991).
The avant-garde cinema and theater saw him engaged in numerous works such as the film Salomè, the theatrical scenography of Nostra Signora dei Turchi (1972) and, more than a decade later, the scenes and costumes of Hommelette for Hamlet by Carmelo Bene , which earned him the 1988 Ubu prize for the best scenography.
A friend of poets such as Ungaretti and Cardarelli, he has made precious books with Emilio Villa, Giorgio Soavi and Antonio Delfini. He lived until his death in 2012 at the age of 77, between Rome and Isola di Pievebovigliana in the Marche, but he never forgot his hometown, which he dedicated to him, in the renovated Palazzo dell'Ex GIL, a shows one year after his death, curated by Lorenzo Canova.