Remo Salvadori, Space and Art. A Journey into the "Rooms" of Thought

A tale told in chapters, a widespread exhibition that inhabits the Palazzo Reale as well as the Museo del Novecento and the church of San Gottardo in Corte (starting Friday). But certainly, walking through the magnificent halls of the Palazzo Reale hosting the first major exhibition dedicated to Remo Salvadori (until September 14, free admission) is as if one were walking through the "rooms" that inhabit the artist's thought, suggests Antonella Soldaino, curator together with Elena Tettamanti. For visitors it is a journey through light and space; in addition to enjoying the splendid view of Piazza Duomo, they can establish a deeper connection with Salvadori's poetics and look at his works with new, open eyes. It is not a chronological itinerary but rather constructed around the themes dear to him. The installation Continuo infinito Presente 1985 (2007) introduces the world of Remo Salvadori, occupying the centre of the Sala dei Ministri and appearing as a circle composed of a series of intertwined steel cables. The Throne Room features No' si volta chi a stella è fisso (No Turn Whose Star Is Fixed), 2004 (2025) , a work with a special meaning. Already presented during the preview of the artist's multi-venue exhibition in the Sala delle Cariatidi at the Royal Palace, the work, made of polished metal, takes on a different appearance depending on the space in which it is displayed, thus embodying the concepts of mutability and adaptability that are intrinsic to the artist's language. Salvadori, "belonging to the generation following that of Conceptual Art and Arte Povera, proposes a renewed formulation of them," Tettamanti notes. It will be unfamiliar to a wider audience, "but that was our challenge," say the curators. The entire project brings together a corpus of over 50 works created by the artist between 1969 and today. "It's always others who notice things, I'm inside my work... it gives me enormous pleasure to admire my works in such a beautiful place," says a seraphic Remo Salvadori, wandering among his "creatures." He loves them all without exception, like Milan , his adopted city, which, as a Tuscan, he finds "fantastic," also because, as he says, "I was born three kilometers from Vinci and felt my path was mapped out; I followed Leonardo." Therefore, the gift of the work Alveare , which will become part of the civic collections, should be understood as a sign of gratitude to the city, "a generous gift to the city for which I thank the artist," remarked Culture Councilor Tommaso Sacchi. Finally, the Stanza delle Tazza, 1986 , the result of Salvadori's research into the conceptual dimension of the circle, as a form capable of raising questions, is found reworked again at the end of the exhibition.