" Once upon a time, in Portugal, there was a ging with a horn on the foot. This really hurt him and therfore, the King limped. So everyone started to limp. One day, a lord from a nother province arrived, but having forgotten the custom, he walked straight. Everyone started to laugh when they saw him. And the King whispered to him : "Why do you not limp ?" " Oh, answeredthe Lord, it is because I have two horn on both feet, so because I limp on the right but also on the left foot, it seems I walk straight. " Moral: The one who follows fashion, even if he is wrong, believes he his on the right road. When he goes further in his cheating, there always appear someone who, following his own judgement, discovers the right way. " Joseph Marie de Cailluret

Retro-Garde

Retro-Garde, this means the will to reset all clocks on time, a complete revision of our past years. Because Bertini does not find anything admitable in today's art. That is why he offers a work of amplification and deepening of communication based on a mix of photo-report and brush. Retro-Garde is an action which, whilst gathering dead bodies, comes up from behind to install itself at the heart of the first line. It also walks at the same pace than Avant-Garde. Retro-Garde is the future's memory. Each avant-garde artist is the retro-garde of himself. Only thy who has been part of avant-garde can be part of Retro-garde, because retro-garde is futurist and not in the past.

Biography

Bertini is born in Italy. He became abstract in 1947, between 1948 and 1949 he creates Work of Arts with letters : " I GRIDI ". In 1950, he establishes in Milan and engages himself in an expression where stains are largely used. His works are presented in octobre 1951 at the Galleria Numero de Florence.They are the first exhibition of informal art in Italy. Its works are known under the name of NUCLEAR Art. At the end of that year, he arrives in Paris, where in May 1952 he has his first personal exhibition (Arnaud Gallery). After a study trip in Spain, back in Paris, he enters the René Drouin Gallery. In 1954 he takes part in the May Fair. In 1957, he is part of a group " espaces imaginaires " proposed by Restany. He travels a lot throughout Europe, presentin his exhibitions in Bruxelles, Copenhague, Schiedam, Amsterdam. He leaves for the United States where he works with the Gres Gallery in Chicago. In 1961, he is invited at the Konsthall of Lund (Sweden) for an important retrospective which is renewed at the Palais of Beaux-Arts of Bruxelles. He comes nearer of " NOUVEAU REALISME " and in 1962 exhibits at the J.Gallery " Pays Réel ". He leaves for Morocco where he stays for a long time.He starts photography report on canvas and in 1965 he signs the first manifest " MEC-ART ". He will afterwards continue his work in this direction. He participates to "Mythologies quotidiennes ", " Figuration narrative " and " Le monde en question ", organised by G. Gassiot-Talabot. In 1970, as commissaire, he organises the Biennale de Venise " L'atelier de création ". During years, he does study trips in Senegal, South America...exhibiting among others at the " Cayc " of Buenos Aires. He goes back to Milan and during the 70's, he creates two visual poetry reviews : in 1971 " Mec " and in 1972 " Lotta poetica ". He then lives in Bratislava (Slovaquia) and goes back to Paris. In 1984 an important retrospective is dedicated to him at at the National Center of Plastic Arts. He is nominated as "Chevalier de l'Ordre des Arts et des Lettres". In 1988 and 1989, he travels in Orient and exhibits at the Modern Art Museum of Seoul and Taiwan. In 1991, he creates a series of works on the Gulf war called : " Pour ne pas oublier " and in 1992, a new serie on " Antonin Artaud ".