Tazza, 1986

Claessens canvas (Waregem), wax, pigment
100 x 60 cm
The room is always this
"The room is always this:
Thought present.
All is within sight, all is invisible.
The hero is accosting to the cups.
All are one.
Arriving from other regions,
placing themselves silently.
Temporal journeys, words
and actions.
Now, to leave outside
the machine of the many I’s,
turn towards the self
accomplish the miracle,
in the moment:
to be able to see."
(Remo Salvadori, Typewritten text, 19 September [1986], archive of the artist, Milan; published with the title "Una poesia di Remo Salvadori," in Spazio Umano / Human Space, no. 2 (April 1987): 138–139)
Placed on the lawn, the cup reflected the rays of the sun
"During a stay in Australia, in 1979, Salvadori had photographed a cup gilded on the inside that had belonged to his wife Sally Benjamin’s grandmother, who had brought it with her when she left Germany in 1938. Placed on the lawn, the cup reflected the rays of the sun and while taking the photo the artist became aware of the presence of his shadow in it. From this interference and from as apparently an ordinary object as a cup had arisen an attentive reflection in which the emotional element ('This object had struck me forcefully because of its history and the period it represented') had been amplified to include external chance events, such as the reflection of the sunlight and his shadow, which in turn, in combination with his creative drive, had led in time to the birth of the work that from 1986 would be called Tazza."
(Antonella Soldaini, Remo Salvadori: The Sovereign Naturalness of the Living, in Remo Salvadori, ed. Antonella Soldaini [Milan: Skira, 2025], 41)
"Chambres d'amis", Gent, 1986
Photo © Giorgio Colombo

Tazza, 1986

Claessens canvas (Waregem), wax, pigment
100 x 60 cm
The room is always this
"The room is always this:
Thought present.
All is within sight, all is invisible.
The hero is accosting to the cups.
All are one.
Arriving from other regions,
placing themselves silently.
Temporal journeys, words
and actions.
Now, to leave outside
the machine of the many I’s,
turn towards the self
accomplish the miracle,
in the moment:
to be able to see."
(Remo Salvadori, Typewritten text, 19 September [1986], archive of the artist, Milan; published with the title "Una poesia di Remo Salvadori," in Spazio Umano / Human Space, no. 2 (April 1987): 138–139)
Placed on the lawn, the cup reflected the rays of the sun
"During a stay in Australia, in 1979, Salvadori had photographed a cup gilded on the inside that had belonged to his wife Sally Benjamin’s grandmother, who had brought it with her when she left Germany in 1938. Placed on the lawn, the cup reflected the rays of the sun and while taking the photo the artist became aware of the presence of his shadow in it. From this interference and from as apparently an ordinary object as a cup had arisen an attentive reflection in which the emotional element ('This object had struck me forcefully because of its history and the period it represented') had been amplified to include external chance events, such as the reflection of the sunlight and his shadow, which in turn, in combination with his creative drive, had led in time to the birth of the work that from 1986 would be called Tazza."
(Antonella Soldaini, Remo Salvadori: The Sovereign Naturalness of the Living, in Remo Salvadori, ed. Antonella Soldaini [Milan: Skira, 2025], 41)

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