Senza Titolo, Salvo, 1997 - Le Città del Futuro

“This attention to the everyday and to working in series demonstrates that this is not only a modern characteristic of the mechanical world and of the art it inspires, but also of figurative painting, which uses the series not to mechanically produce similarity, but more simply to humanly create difference. This takes place in an era of advanced technological production and reproduction of serial images and objects, to which the artist responds with the aura of painterly creation—one that simply brings to life the series of difference. But here, simplicity—which does not mean simplism—is a distinctive trait that defines Salvo’s work, simply because his art evokes classicism. ”

— Jan Hoet, excerpt from the catalogue Arte All’Arte II, 1997

The curators Jan Hoet and Giacinto di Pietrantonio invited Salvo to participate in the second edition of Arte all’Arte with an intervention inside the Civic Art Gallery of Casole d’Elsa, presenting works that were unpublished at the time.

“In fact, postmodernism has many detractors because they look at its surface—this end-of-century film—with superficiality, failing to understand that if you've been given a computer, you need to learn how to use it, even if you criticize it. Today, artists produce works—paintings, sculptures, installations—that are immediately recognizable, communicable I would say, whether they reference the twentieth century or draw from Arte Povera. This is what Salvo’s works speak of: a historical layering, where the apparent simplicity of his painting conceals the complexity of history and the experience of a conceptually refined vision. It is a kind of truth machine, a trap for fools who believe that surface equals superficiality.”

Giacinto di Pietroantonio, Arte all’Arte II, 1997

Credits
Salvo
Senza titolo, 1997
Olio su tela/ oil on canvas
Casole d’Elsa, Arte all’Arte II
Foto Alberto Cipriani

Untitled, Salvo, 1997

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