4 aprile 2014
Art of Caos Complexity
by Valerio Deho'

«The problem of science cannot be understood through scientific method... Science must be seen through the eyes of the artist». Friedrich Nietzsche, The Birth of Tragedy, 1871

INTRODUCTION
According to the Aristotelian model, the distinction between science and art is reduced to a question of subject matter...
15 gennaio 2013
RENZO BERGAMO’S UTOPIAN COSMOS
by Stefano Sandrelli

“If the universe was born / from a stew of gases / a stew not a brew
/ then how is it possible, how... / but here the swan’s quill / that still
though it’s late / belongs to the poet / fell from his hand.” These verses
were written by Eugenio Montale in the mid-1970s. What a wonderful,
ironical way for a poet to express how he felt about the complexity of
contemporary science, which – as Italo Calvino had stated a few years
earlier – “no longer gives us images that can be represented; the world
it opens up for us is beyond the realm of any possible image...
15 gennaio 2013
THE ERA OF PI
by Simona Morini

There are many different ways to look at the sky. Man has been looking
at it for millions of years, and yet it remains mysterious and enchanting.
The lights that dot it at night, the phases of the gleaming moon lighting
up the darkness, that circle of fi re providing us light and heat, comets,
and all the celestial bodies that cross the heavens have prompted infi nite
questions for science, religion, and art to answer...
15 gennaio 2013
RENZO BERGAMO, A SON OF THE GALAXY
by Claudio Cerritelli

In one of his critical notes on the astral fl ux of light, Renzo Bergamo
stated that he had been ideally born out of the cosmos, that he felt like
he was a son of the galaxy and of the matter that endlessly transforms
into the universe’s boundless energy. This crucial declaration is the point
of reference for any interpretation of his art, on its journey towards the
origins of creative thinking, in harmony with endless opportunities to
reveal – in painting – magical manifestation of colour and luminescent
visions expanding freely, incessantly...
15 gennaio 2013
THE CHILD ENGENDERED BY MATTER
by Giulio Giorello

Do you remember Jules Verne’s Around the Moon (1870)? A sort of
bullet carrying a team of explorers is shot, “in 186...”, from the Earth
to our satellite, which our heroes are able to contemplate closely, from
the portholes in their primitive spaceship, the Projectile. During this
strange Odyssey, two of the men – engineer Barbicane and captain
Nicholl – get into a heated discussion on whether they should follow a
parabolic trajectory or a hyperbolic one...
15 gennaio 2013
IT IS DIZZYING
by Mina Mazzini

It is dizzying. Since it is undoubtedly true that one does not paint, write
music, sculpt, or sing with specifi c tools but with the brain, I think could
have easily fallen in love with Renzo Bergamo’s fl aming mind. Actually,
I fall in love with it all the time. Just like I fell in love and continue to
fall in love with Puccini...
15 gennaio 2013
CATALOGUE PRESENTATION EXHIBITION ATOM-ENERGY LIGHT
Giuliano Pisapia
Mayor of Milan

The exhibition devoted to Renzo Bergamo cannot help but be also an
exhibition about Milan. This is the city that he chose as the backdrop
of his inspiration for forty years. Bergamo’s works recall the history of
Milanese art from the second half of the 1900s, in all of its richness
and variety: a reality that Bergamo intersected and interpreted with full
awareness and originality...
3 ottobre 2010
"That Mental Encounter between Science and Art"
Stefano Sandrelli
Director of Public Education & Programs
INAF - Brera Astronomical Observatory

The question of what is art has always been hotly debated. Certainly one of the principal gifts that art offers us is fiction, in the etymological sense of the term: to ‘form’ or ‘simulate’. Thus it presents a deformed, moulded vision of reality. The artist, in this sense, is a demiurge who chooses the world to model and how to model it...
1 ottobre 2010
" Cosmic visions in pictorial form "
by Claudio Cerritelli

The revolution of imagery instigated by the painters of the Spatialist movement lies at the foundation of Renzo Bergamo’s creative credo and constitutes the main constant of his artistic enquiry, a ceaseless quest to create a space of boundless dynamism through a pictorial process that invariably displaces the horizon toward the infinite...
25 ottobre 2007
Summary of the conference held at the Palazzo Ducale in Genoa –
‘AesthEtics of Chaos in the Recesses of Possible Worlds’
Art and Science in Comparison.
Contribution by Philippe Daverio

If you like I can give you an introduction to the question, fundamental from a methodological viewpoint, for it is obvious that we are not going to speak of Renzo Bergamo alone. We are going to try to find approaches that will allow us to gain an insight into, if not to understand, the reasons why it is possible to imagine a new relationship between the world of science and the world of visual representation of art...
5 ottobre 2007
Comments of Professor Giulio Giorello about Renzo Bergamo's painting.

Possibile worlds
An other universe that's consistent with the laws of physics is possible, changing, of course, the basic conditions. When we change, even slightly the basic conditions, the underlying physics is going to change as well and thus other universes, completely different from ours may occur...
5 ottobre 2007
"The primordial and the potential: the “theory of colours” by Renzo Bergamo"
Stefano Moriggi

“Has anyone ever recognised the importance of colour in painting?” This question, seemingly no less rhetorical than ingenuous, was the one posed by Paul Gauguin (1848-1903) to readers on the pages of his “Notes Synthétiques” (c. 1888). In reality, this work, with all its profound philosophical insights, should be a constant companion of all those who wish to get to grips with the EstEtica [Aesthetics/Ethics] of Chaos that Renzo Bergamo (1934-2004) considered to be the final phase in painting of the trajectory of an artist in order to escape from the bustle of the market and empty aesthetic provocations and win himself the space for reflection and the unprejudiced interaction with science...
4 ottobre 2007
Renzo Bergamo " The Man and the Artist "
Andrea Bisicchia

I met Renzo Bergamo back in the ‘70s, a time when I was experiencing the multidisciplinarity of the various arts. Though theater was my first calling, I didn’t see it as literature but as a scenographic language, the ephemeral locus of the creative dimension. I was and remain convinced that there can be no language of the text if it does not become the autonomous, specialized language of the stage...
9 maggio 1994
"An importanl reappearance "
by Enrico Gariboldi

Personal Exibition
" Image"Gariboldi Art Contemporary
MIlan

In a prestigious monthly magazine (Il Giornale dell'Arte) Aprii 1994, an article entitled, "We need a new drug" began with three questions: Which is chronologically the last work of art that really impressed you? Do you stili remember your last artistic orgasm? If you were asked, could'you state in three seconds the greatest artist of today? Then it continues with various other considerations, asking questions like: "Who has killed the new Art? Why doesn't she come to seduce or to ravish us anymore?" Ending with this piea: "A new drug is urgently required; we refuse to resign to this crisis of abstinence", I don't like to quote myself but in a letter-article (the age of Merchants) that I wrote for Flash Art, I underlined these same concepts with even more bluntness as I have done in many catalogue introductions, Besides it is difficult to ignore the fact that Art, in the last few years, has fallen into an almost meaningless dimension and it seems to have become a kind of gymnasium for researches, sometimes serius but more often useless...