• Art in America

    by Lillian Davies, 2010 January
    In early January, I sat down with artist Davide Bertocchi at Caravan, a cozy café in Paris's 11th arrondisse- ment down the street from his apartment. Bertocchi, whose performance and mixed media works often deal with the limits of scientific knowledge, has freed himself from the confines of a traditional studio space; he realizes the majority of his work on the computer.
  • Petaflops

    by Raimundas Malasauskas, 2009 March
    I recently came across something you once wrote that really struck me: “I realized there’s not enough time to experience future anymore. You’ve probably noticed this too. The future does not bring more time to explore it, yet it arrives in a state of immediate impasse and planned post-obsolescence. At the same time, the speed of its arrival is such that you do not even notice its onset. However many times this has happened, you don’t even think about it anymore. Maybe it comes slower when you think rather than when you don’t think? I wondered... It def- initely comes faster than you think.”
  • Intervista a Davide Bertocchi in Teknemedia (italian)

    by Daniela Lussana, 2008 January
    Daniela Lussana: Chi è Davide Bertocchi?
    Davide Bertocchi: Mi definirei come un ricercatore in un campo d’azione illimitato... o quasi.
  • Personal Mythology in Sint-Lukas Galerie

    by Andrea Bellini, 2006 January
    The relationship between art and science has deeply marked the history of Western cul- ture since the Renaissance. Science has not only provided the “con- tent” for art, but has represented a living source of thoughts and con- siderations which have generated questions and issues regarding the very meaning of human life. In your work, for example, science seems to be ambiguous. Is that true?
  • La métaphysique de synthèse in Art Présence N°57 (français)

    by Nicolas Exertier, 2006 January
    N’en déplaise aux disciples de Sainte-Beuve, la biographie d’un artiste ne permettra jamais d’expliquer son œuvre. Il n’empêche qu’un détail troublant doit être relevé en ce qui concerne Davide Bertocchi. L’artiste est né en 1969 (à Milan) ;  date qui ne peut être considérée comme anodine. 1969 : C’est non seulement une année cruciale dans l’histoire de l’art conceptuel (cf. January 5-31 organisé par Seth Siegelaub) mais c’est aussi et surtout l’année d’un alunissage (Programme Apollo) dont certains contestent encore la véracité.
  • Rivoluzione permanente in Flash Art (italian)

    by Chiara Leoni, 2003 April
    Limo, uno dei tuoi lavori più recenti è un progetto in animazione digitale per l’ipotetica realizzazione di una limousine curva che abbia l’esatto raggio del Guggenheim di New York. L’unico percorso che il veicolo compie nel video è quello trionfale lungo la rampa del museo.
  • Artforum

    by Giorgio Verzotti, 2001 June
    Galleria gian carla zanutti: Davide Bertocchi. (Reviews).
    The three works Davide Bertocchi presented here were each quite different but were subtly linked by an idea. In the gallery's single room, what first struck the viewer was Nucleo (Nucleus; all works 2000), a large sphere in dark fiberglass-reinforced plastic. On its surface, at eye level, was a hole large enough to accommodate the viewer's head.