Bertozzi & Casoni —
Their first artistic trainig was at State Institute of Ceramic Art in Faenza, in a post-informal mood.
Finished their studies also at Art School in Bologna, Bertozzi and Casoni set up a society and took part at some different events which try to focus protagonists and reasons for a “new ceramic”.
Their first works in thin polychrome majolica were already characterized by an extraordinary ability and distant irony.
Very important was the partnership with Ceramic Cooperative of Imola (1985-1990) where they worked as researchers in Experimentation and Research Centre on Ceramic. In 1987-1988 they collaborate to “K International Ceramics Magazine” for which they created also some covers.
In 1990 they created fountains and big sculptures for an urban intervention in Tama, a new area in Tokyo. In 1993 they finished the big panel “Ditelo con i fiori”, put on an external wall of Civil Hospital of Imola.
In the nineties a new aspect was born in their art: ceramic started being more conceptual and drastic thanks to bigger size.
Their sculptures – symbolic, scornful and attracted by fleeting and decomposed aspect of life – are international symbols of a not only contemporary human condition. Corrosive irony of their works is always balanced with an extraordinary technical capacity. Between compositional surrealism and hyperrealistic form, Bertozzi and Casoni examine contemporary society waste, also cultural garbage: from the past until artistic present. Symbols like Brillo Boxes seen through Pop Art vision or Piero Manzoni’s cans of “Merda d’artista” find, in a polished ceramic version which studies obsolescence and decay, signs both of a irremediable passed time and freeze condition: they become really immortal.
Since 2000, Bertozzi and Casoni stopped using majolica for different industrial techniques and materials, changing methods and compositions more closer to a trash art.