In the month of May, the Centre national d’art contemporain de Grenoble opened the first major retrospective on Salvadori, tracing back his career from the outset to the most recent creations. . . . As usual, the large exhibition space was not treated by the artist as a mere container, but as an active counterpart for dialogue. The plan of the Magasin thus took on the features of a human profile—Giorgio Verzotti spoke of an "anthropometry"—inside which to arrange items that besides being works were also seen as true "presences" inside the artistic investigations of Salvadori, in which to highlight connections and references: the table (Tavolo d’angolo, Mutando riposa), the lead sheets (Nel momento), the Modello, the amphora (Anfora e modello), the tripod (L’osservatore non l’oggetto osservato), the bottles (Triade), the glasses (Triade), the cups (Stanza delle tazze).

As an introduction to the large monographic volume edited by Celant, released at the time of the exhibition, a conversation between the critic and the artist was published—conducted in several sessions during the previous year—in which Celant, besides attempting to map the artistic and cultural context in which Salvadori’s work arose and developed, while indicating the important phases of his career, put the accent precisely on this aspect: the importance of the relationship established by the artist with the space. He writes, in fact: "Intuitively, it seems to me that your attention immediately concentrates on the structuring and experiential power of a place, the effort to circumscribe and to focus a space, suggesting the necessity of making it more intimate. The sensitivity produced in a context should always been seen or perceived in conjunction with the people who live in it. I then understand your urge to combine and integrate in your work the presence of places experienced, like your studios or your display containers . . . . To reabsorb or refurbish, with a gesture of maximum concentration, all the intensity of a global feeling that is not just individual, of the observer-artist, but of all . . . . If space is a sensitive and glorious body, it produces inner gazes and magnetic junctions. It composes a constellation of walls and corners, perspectives and panoramas, which become the core element of your every experience."