Unfolding across the spaces of the two galleries—environments the artist approaches as sensitive and reactive containers—the intervention consists of complementary parts that run in parallel, enhancing one another. It comprises a series of works created through the cutting and folding of metals—from gold to silver, from copper to tin to lead—which, under Salvadori’s manual intervention, acquire diverse and multifaceted configurations.
By cutting sheets of varying material density and reflectiveness according to different numerical and harmonic ratios—now established as both method and disciplined creative exercise—he achieves astonishing and captivating visual variations. It is a process of extremely slow gestation that invites the viewer to reflect on the nature and expressiveness of metals, exploring their varying levels of communication in relation to tactility and luminosity.

On the occasion of the presentation of this complex and monumental work, Salvadori has integrated a sound element: J.S. Bach’s Concerto for Four Harpsichords and Strings in A minor, BWV 1065, which functions as a reflective counterpart to Nel momento. By juxtaposing the auditory and the visual, the artist seeks to highlight how the concerto’s infinite polyphonic possibilities mirror the multiplicity inherent in the artwork.
A sort of counterpoint of counterpoints, where—at the heart of the second movement—a near-minimalist suspension created by the solo keyboards becomes comparable to the simple, essential permutations enacted through the folds and cuts within the materials.