There are invisible and miraculous channels that transfer, from the upper heavens to the lower earth, qualities and powers, benefits, positive or negative energy, depending on use and purpose. We are dazzled by both the Golden Sun and the Black Sun, the occult planet that is Saturn, that is lead, which neither light nor radiation can pass through

What one imagine and what one finds, which remains . . . At Hombroich everything becomes intentionality already upon the first encounter, like words still at their origin. . . . Hombroich, a European location in Europe: walking or stopping in places with no roof is truly different

BUILDING dedicates its inaugural exhibition (October 27, 2017 – January 27, 2018) to Remo Salvadori, a solo show that spans four of the building’s six floors, shaping for the first time the spaces of Via Monte di Pietà. The exhibition aims to create a symbiosis between the space and the works, a harmony between the viewer and the object.

MAXXI Arte introduces a new presentation of its collection that reflects on the relationship between space and object, a fundamental point of reference for contemporary artistic research. From Maurizio Mochetti to Juan Muñoz, from Remo Salvadori to Thomas Schütte and Franz West

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

The exhibition takes place on two floors of the historic Venetian palazzo: the Casa Museo Querini Stampalia and the Area Scarpa. The basic idea of the operation was that “the work to germinate in the space it was created for

The Centro per l'Arte Contemporanea Luigi Pecci opens to the public on Friday 31 October 1997 a large anthological exhibition of the artist Remo Salvadori. The exhibition, curated by Bruno Corà, artistic director of the Centre, develops in the 10 large rooms of the museum an emblematic itinerary, marked by dozens of works whose auratic ...

The artist was invited to show work at Kassel in the ninth iteration of documenta, curated by Jan Hoet with the assistance of a group that included Bart de Baere, Pier Luigi Tazzi, and Denys Zacharopoulos. The event

"A decidedly rational and philosophical research which in its operation of analysis and critique of the entities set outside of itself can be conceived and taken in opposition to Neo-Expressionist statements and explosions" is the theoretical assumption behind Periodi di marmo. Arte verso l’inespressionismo

At the end of May Salvadori was the focus of another solo exhibition, this time in Genoa at the Locus Solus gallery of Vittorio Dapelo and Uberta Sannazzaro. At the entrance two paintings faced each other: Origine (here titled Stabilità e instabilità del colore), 1983, and Ecce Homo, 1985. . . . In the exhibition

In June the artist was invited to show work at documenta 7, the international exhibition held every five years in Kassel, Germany. As decided by the curator Rudi Fuchs, the event had no title, no theme, with the aim of representing contemporary art without classifications

A solo exhibition of the artist’s work was held in the space of the Salvatore Ala gallery in Milan on February 11, 1982. The show included the work 11 febbraio 1982, composed of two parts: an iron tripod placed in the room, and a circular canvas on the wall

The event took place in Turin on May 3 1977. Four artists - Mario Merz, Giulio Paolini, Marco Bagnoli and Remo Salvadori accomplished four works - each his own - for a single space (the empty and dark auditorium of the Gobetti Theatre) and for a brief period of exhibiting time (from six to eight p.m.). These were different and autonomous works which together formed a single, mental and visual 'concerto', subtly spectacular for those who were fortunate enough to witness it

In January 1973 a solo exhibition opened at the Galleria Toselli. On a wall, Salvadori placed six slate slabs (Janus, 1972) printed with a photograph showing Carmen Lugnani and her brother Peter as Janus Bifrons