Bergonzoli in Bavaria
Irony is the accompanying stylistic device of Mauro Bergonzoli, connecting him with many artists of one movement, above all diversifications: the artists of Pop Art. Pop Art not in the sense of one movement which shaped an era, rather much more as heterogenic vocabulary
of forms, which since its birth has leveled the distinction between high and everyday culture. Indeed, the term “Neo-Pop-Art” is not enough to categorize the Œuvre of Mauro Bergonzoli, which presents itself so rich in facets, yet the closeness of the artist to the visual manner of expression of Pop Art is clear. Throughout his work one can find corresponding similarities: With Roy Lichtenstein Mauro Bergonzoli shares the limitation to few base colors and black as well as emphasized contour drawing, with James Rizzi the humoresque typecast of modern urbanity, with Keith Haring the schematic iconography of the language of comics, with Jeff Koons the ennoblement of artistic Kitsch and with Mel Ramos finally the choice of subject: The portrayal of Women. Yet also for the creation of this his preferred motif in his Œuvre applies what Francesca Bianucci once stated: “ Bergonzoli doesn’t want to own reality, as Pop-Art does, he wants to create his own and personal reality within it.”
Art Historian Dr. Sonja Lechner M.A.