Luigi Ontani’s most recent work abandons the body as a direct language in favor of a more “pictorial” dimension. In past self-portraits, he has employed the body as a linguistic means, photographing it in poses inspired by mass-media personalities, comic strips (“Superman”), literary works (Don Juan), or figures from classical painting. His interest in the past was conveyed through a filter of historical and literary references; the classical figures he invoked furnished the interpretive key to his stagings of life as art, and, conversely, of art as the acme of life. His staging has always been

This show of Remo Salvadori’s work consisted of three pieces—a sculpture, a map drawing, and a book. The Pieroni Gallery had been structurally modified by the artist for this show, and the book contains a project showing the original, preexisting plan of the gallery and the successive changes introduced; the evolution of the idea is visualized in a series of drawings that develop gradually, with slight variations, until they coincide with a form that has already appeared in many of Salvadori’s previous shows.

The works were placed in the rooms of the gallery in a manner which created alternating