Born in Cerreto Guidi (Florence) and living in Milan since the early Seventies, Remo Salvadori established himself among the artists of the generation following Arte Povera and Conceptualism.He initially used photography or everyday objects, scattering them in space in order to reinterpret philosophical concepts or archetypal figures.
The artist’s principal point of reference is always space, which he interprets as a source of creative psychic energy and his studio is incorporated in the work and transformed in the spiritual resonances that environments and objects always take on his work. Great attention is paid to the observer who is frequently thematizedin the work (L’osservatore e non l’oggetto osservato, a sculpture from the 1980’s).
For Salvadori, the work of art is always born out of will to perceive, standing in relation to the interior “sonority” of the space in which it is created. In his words, creation “is a path to be followed with the mind, heart and limbs, in the direction of a desire for awareness, almost as if it is an ascension and the ascending is also a seeing”.
The works are frequently in cycles. Among these families – which evolve in a slow and aware maturation –Nel momentois a work begun in 1974 that is composed of metal plates of various dimensions on which the artist has intervened with cuts and folds in a complex dynamic of solids and voids. The title of the piece establishes the idea of the moment as both an“instant”and a “duration”, in reference to both the time of creation and that of fruition.
For Salvadori, art is a communion of opposites. The works are based on the conceptual and formal dialectic between interior and exterior, uniqueness and multiplicity, spirituality and materiality. Geometric forms interpreted as symbols recurs in many sculptures and installations: the square, for example, an indicator of the terrestrial dimension, countered with the circle, a metaphor for the celestial geometries. The chosen materials, the metals for the sculptures (the important Verticalicycle) or the grammar of colours (Lampada, 1988-89) for the works on paper, reference the theories of the anthroposopher Rudolf Steiner.Salvadori’s entire oeuvre revolves around the idea of overcoming the principles of opposition, which derives from the frequentation of that thinking as an interior discipline expressed in art, in such a way as to achieve a more profound perception of reality. Remo Salvadori has exhibited in private galleries such as those of Lucio Amelio in Naples (1978), Salvatore Ala in Milan and New York (1980 and 1982), Mario Pironi in Rome (1981, 1985 and ’86), Christian Stein, Milan (1988, 1999, 2005, 2017) Buildig, Milan(2017). He has featured in anthological exhibitions at institutions such as the Art Gallery of Ontario, Toronto, in 1987; Le Magasin, Grenoble and the Padiglione d’Arte Contemporanea in Milan in 1991, the Museo Pecci in Prato in 1997; the Fondazione Querini Stampalia in Venice in 2005, MAXXI in Rome in 2012. He was invited to the Venice Biennale in 1982, 1986 and 1993 and to Documenta in Kassel in 1982 and 1992. Among the group shows in which he has participated mention has to be made of Chambres d’amisin Ghent in 1986, the inaugural exhibition in Mori Museum in Tokyo in 2003 and Ytaliaat the Forte del Belvedere in Florence in 2017.