Born in Sicily, Salvo lived and worked in the industrial city of Turin. He began as a conceptual artist, before dedicating himself to an irresistible and symbolist painting that is now being rediscovered. He wanted to challenge and seduce the world, like the old masters.
it was a presumption, almost a sacrilege, but perhaps 22 is just the right age. In 1969 gian Enzo Sperone was a key figure in the Italian art trade. He worked with the Arte Povera artists and made American Pop Art known in his home country.The young artist Salvatore Mangione, who from now on had decided to call himself Salvo, wrote a letter to the powerful gallery owner.
“Now that I have thoroughly examined the experiments of those who consider themselves masters and creators of military equipment, and having seen that there is nothing special in thier inventions, I would like to try to explain myself and reveal to you my secrets and propose I tell you whenever you can enjoy it.”
If this sounds bizarre and contrived, your on the right track. For his letter of application, Salvo copied almost word for word a letter that Leonardo da Vinci had written almost 500 years earlier to Ludovico Maria Sforza, known as Il Moro, duke of Milan. This became one of his most significant supporters.
Salvo was self-taught and had experimented a bit at that point, but hadn’t achieved much yet. This did not prevent him from putting himself on a par with one of the greatest painters and universal geniuses in human history.You have to trust first, but he convinced the gallery owner. They worked together for nine years.
Prices rising for Salvo’s paintings
“I don’t want to be famous today,I want to be famous in 500 years,” Salvo,who died in 2015,once said of himself,which is more or less the same statement as Da Vinci’s copied letter. And these days it seems like he’s getting closer to his goal (although there have been some bumps in the road).
The market for his work has grown significantly in recent years. While in 2020 in an exhibition at the Mehdi Chouakri gallery in Berlin there were small canvases starting from 15,000 euros, today a corresponding painting costs around 100,000.
“Depending on the subject and quality, larger works can cost up to 700,000 euros,” says chouakri, and in 2023 Salvo’s marvelous painting “Il Mattino” – a sunny landscape with palms, cypresses and maritime pines – was sold from christie’s auction house in Hong Kong at auction for more than one million euros. The German gallery owner Paul Maenz was for many years one of Salvo’s most important commercial partners and only interrupted the collaboration when he closed his gallery in 1989. Simultaneously occurring Salvo was also exhibited by the gallery owner Barbara Gladstone in New York, but then they were years in which his name risked becoming a footnote in the history of art.
Mehdi Chouakri presented his first exhibition with the artist in 2014. His colorful images, but also marble tablets from 1969, inscribed with “Salvo is alive” and “Salvo is dead”. This could still be considered conceptual art, but the strange humor speaks of a pleasure in contradiction, in surprise, in stubbornness, which made it difficult to classify this artist and which would accompany him throughout his artistic career.
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In 1973 Salvo made an apparent 180 degree turn and began his decisive creative phase. From then on he painted simple-looking pictures in radiant, almost psychedelic colors. They are often landscapes, sunsets, glimpses of cities.
Or the church of San Giovanni degli Erimiti in Palermo, whose round-domed roofs recall the influence of 200 years of arab domination on Sicily. In Salvo they also have a vrey clear erotic component. Art distracts him from his sexual fantasies, he once explained and added profoundly: he paints because he gets paid to do so.
Lost the sunset
A retrospective of salvo is currently underway in Turin, which suggests a different clarification: he painted because he was obsessed with colors and light and because he didn’t want it otherwise.The title “Salvo. Arriving at Time” refers to a car accident caused because he wanted to “arrive in time for sunset”. Seen from this perspective, it is particularly fitting that the exhibition can be seen in the Pinacoteca Agnelli, which occupies part of the former fiat Lingotto factory.
This 1923 building is famous for the kilometer-long test track on the roof. Today sculptures and installations by internationally renowned artists are exhibited here. one of the bold 180-degree bends (another one!) is adorned with a Monica Bonvicini banner, and in the eye of the sculptural concrete ramp behind it hangs a huge Julius von Bismarck buoy.
There is a lot of continuity between the conceptual artist Salvo and the painter, explains the director of the Pinacoteca Agnelli, Sarah Cosulich, at the beginning. In fact,his painting is so symbolic,so far from attempting to represent reality,that it can probably be understood as conceptual art. At the same time, it is the absolutely brazen sensuality of his art (despite all the ancient, literary, aesthetic references) that makes salvo so irresistible.
His photos are almost too good to be clever. But only almost. He chose a relatively rigid corset (or concept) for his painting.Within this, tho, he created a peculiar and unique work. So if you want to take a trip in the next few months just to see some art, then Turin would be the perfect choice. The emotionality of Salvo’s art amazes, fascinates and resonates.
“Arriving on Time” is not organized chronologically, but rather by theme and is sometimes excessively dense. Groups of motifs such as beams of light from street lamps, people in bars, Mediterranean nature or ancient architectural remains take on a particular urgency through repetitions and almost chromatic variations. this also shows how long the artist’s breath was.
At the beginning of the 1970s he created a series of marble slabs with the same writing “Simile nonidentical” (similar, not the same). Since stones naturally always have a different design, this proves that Salvo was right.
“When we started showing it at trade shows, a lot of people made fun of it,” says Mehdi Chouakri. Today, influential artists such as the Swiss Nicolas Party or jonathan Monk refer to Salvo. One paints in part exactly like Salvo, the other elaborates his paintings in his typical collages.Perhaps the Italian would have liked it, because he too played the game of appropriations, overwritings, references and quotations.
In the early 1970s he took his friend and studio partner Alighiero Boetti with him to afghanistan for the first time. To do this he painted some paintings which are clear homages to his traveling companion. For example, an Italian flag completely filled with the names of all the artists he admired.
A Raphael-style seduction
One of these ancient masters must have had a special role for him. In 1970 he was photographed with a confident pose and a bold head of hair. Salvo looks intensely at the viewer, with his mouth half open. It is indeed his interpretation of Raphael’s famous self-portrait. An image of classic and timeless beauty: the young man who wants to challenge and seduce the world.
Anyone who joyfully visits the Turin exhibition for the
„Safe. Arrive on time“ in der Agnelli Art Gallery in Turin it is visible until 25 may 2025.
What are the key influences that shaped Salvo’s transition from conceptual artist to symbolist painter?
Interview between the Time.news Editor (E) and Art Historian (A)
E: Welcome, and thank you for joining us today. We are excited to delve into the life and work of Salvo, the enigmatic Sicilian artist whose pieces have been gaining attention lately. Can you start by giving our readers an overview of Salvo’s journey from conceptual artist to symbolist painter?
A: Absolutely! Salvo, born Salvatore Mangione in Sicily, began his artistic career in Turin as a conceptual artist.His early works were deeply influenced by his surroundings and experiences in this industrial environment. However, over time, he transitioned into a more symbolist style—vibrant landscapes, rich colors, and psychological depth. this evolution reflects his desire to engage more intimately with the viewers, inviting them into his world rather than provoking them with abstract concepts.
E: Fascinating! His letter to Gian Enzo Sperone,where he emulates a famous correspondence by Leonardo da Vinci,is a bold move. What does this tell you about Salvo’s ambition and self-confidence?
A: That letter is a perfect encapsulation of Salvo’s audacity. by daring to position himself alongside da Vinci—a towering figure in art history—Salvo was not just introducing himself to the gallery owner; he was making a bold statement. He wanted to be seen as an equal to the masters, emphasizing that he had something unique to offer. This blend of confidence and self-awareness allowed him to carve a niche for himself in the competitive art market of the time.
E: It’s captivating to note salvo’s desire for fame in 500 years rather than in his lifetime. Do you think this desire speaks to a broader commentary on the nature of art and legacy?
A: Definitely! Salvo’s perspective highlights an artist’s complex relationship with recognition and mortality. He seemed to have an innate understanding that true greatness often transcends contemporary fame. He wanted to create work that would resonate beyond his own time, similar to how we view the old masters today. This notion of longevity in art challenges the immediacy we frequently enough associate with success and prompts us to evaluate what makes a piece timeless.
E: Speaking of success, the recent surge in demand for Salvo’s work is remarkable. His paintings have seen prices soar from 15,000 euros to over one million. What factors do you think have contributed to this resurgence?
A: Salvo’s revival can be attributed to multiple factors.Firstly, the shift in art market trends—collectors are now embracing diverse narratives and forgotten artists. additionally, exhibitions like the one in Turin play a pivotal role in reintroducing him to contemporary audiences. The limited availability of his pieces also drives up demand. It’s ultimately about rediscovering the richness and depth of his work, which resonates with today’s artistic conversations about color, light, and the human experience.
E: You mentioned the current retrospective in Turin entitled “Arriving at Time.” This theme sounds intriguing, especially given the tragic circumstances surrounding his obsession with sunsets. Can you delve into this connection?
A: Certainly! The title reflects not only his personal experiences but also symbolizes Salvo’s relentless quest for beauty—specifically, captured moments in time. The car accident that led to this retrospective highlights the fragility of life and the intense passion that drove him to paint. His desire to “arrive in time for sunset” transcends mere aesthetics; it signifies an urgency to capture fleeting beauty, echoing the notion that art can be a powerful vessel for both expression and contemplation.
E: Lastly, how would you describe Salvo’s artistic legacy now that he’s experiencing a revival? What does he contribute to today’s art scene?
A: Salvo’s legacy lies in his unique blend of humor, contradiction, and psychological depth. His capacity to play with symbols and colors captivates and challenges viewers, bridging the gap between conceptual art and traditional painting. As contemporary artists seek to redefine boundaries, Salvo serves as a reminder that innovation can stem from a deep respect for history. his work suggests that art is a timeless conversation—one that remains relevant and compelling both now and well into the future.
E: Thank you for these insightful reflections on Salvo’s life and work. It’s clear that his journey will continue to inspire both collectors and artists alike for generations to come.
A: Thank you for having me! I’m excited to see how Salvo’s story unfolds in the art world.
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This interview format allows readers to engage with the depth of salvo’s artistic journey, showcasing his ambitious nature and evolving legacy in an informative yet captivating manner.