Modello, 1978 (2018)

glass
44 x 27 x 14 cm
Non-gravitational experience of time and place
"The places are four galleries. In the first it is represented as a warm container of organic elements. The second offered its spatial reinterpretation. The third made visible the use of the materials found inside it. In the fourth, the experience of the entire itinerary is cooled, in a ceramic form. The result is an object: a model. An original specimen. Gravità Zero. The non-gravitational experience of time and place."
(Remo Salvadori in conversation with Antonella Soldaini, Milan, 2022–2024.)
A transparency that does not occupy space
"In April 2018 the artist was one of the protagonists of the group exhibition Una fornace a Marsiglia. Cirva / A Furnace in Marseille. Cirva. The event, curated by Isabelle Reiher and Chiara Bertola, came alive in the spaces of Fondazione Querini Stampalia in Venice and the Stanze del Vetro on the island of San Giorgio. The project, beginning during the previous year, called for each invited artist to visit Marseille, coming into contact and becoming familiar with the techniques of glassmaking of the Centre international de recherche sur le verre et les arts plastiques (Cirva), a state-run glassworks located in the center of the city. Salvadori went to Marseille in December 2017, and as usual before delving into the making of his work he established firm ties with the site and the people who work there: 'It was in December 2017 that Remo Salvadori made his unobtrusive arrival at the Cirva,' we read in the catalogue of the exhibition. 'The first thing he wanted was to meet all the members of the team, to understand their personalities, sensitivity and relationship with glassmaking. A whole day was spent talking about music, literature, travel and art. It was not until this contact had been established and these bonds created that the work began.' In the Marseille glassworks a gleaming transparent glass version of Modello took form, a work from the artist’s past chosen for its balance of full and empty zones: 'a transparency that does not occupy space'."
(Laura Conconi, Maria Corti, "Chronology", in Remo Salvadori, ed. Antonella Soldaini, Skira, Milano 2025, p. 536)
"Remo Salvadori. Continuo Infinito Presente / Sostare / Nel Momento", Stiftung Insel Hombroich, Neuss, 2018
Photo © Attilio Maranzano

Modello, 1978 (2018)

glass
44 x 27 x 14 cm
Non-gravitational experience of time and place
"The places are four galleries. In the first it is represented as a warm container of organic elements. The second offered its spatial reinterpretation. The third made visible the use of the materials found inside it. In the fourth, the experience of the entire itinerary is cooled, in a ceramic form. The result is an object: a model. An original specimen. Gravità Zero. The non-gravitational experience of time and place."
(Remo Salvadori in conversation with Antonella Soldaini, Milan, 2022–2024.)
A transparency that does not occupy space
"In April 2018 the artist was one of the protagonists of the group exhibition Una fornace a Marsiglia. Cirva / A Furnace in Marseille. Cirva. The event, curated by Isabelle Reiher and Chiara Bertola, came alive in the spaces of Fondazione Querini Stampalia in Venice and the Stanze del Vetro on the island of San Giorgio. The project, beginning during the previous year, called for each invited artist to visit Marseille, coming into contact and becoming familiar with the techniques of glassmaking of the Centre international de recherche sur le verre et les arts plastiques (Cirva), a state-run glassworks located in the center of the city. Salvadori went to Marseille in December 2017, and as usual before delving into the making of his work he established firm ties with the site and the people who work there: 'It was in December 2017 that Remo Salvadori made his unobtrusive arrival at the Cirva,' we read in the catalogue of the exhibition. 'The first thing he wanted was to meet all the members of the team, to understand their personalities, sensitivity and relationship with glassmaking. A whole day was spent talking about music, literature, travel and art. It was not until this contact had been established and these bonds created that the work began.' In the Marseille glassworks a gleaming transparent glass version of Modello took form, a work from the artist’s past chosen for its balance of full and empty zones: 'a transparency that does not occupy space'."
(Laura Conconi, Maria Corti, "Chronology", in Remo Salvadori, ed. Antonella Soldaini, Skira, Milano 2025, p. 536)
"Una fornace a Marsiglia. CIRVA / A furnace in Marseille. CIRVA", Fondazione Querini Stampalia, Venice, 2018
Photo © Enrico Fiorese