Along with more versions of Nel momento – Nel momento, 1974 (2007), and Nel momento, 1974 (2022)  – this room houses some emblematic works that have marked important phas- es in Salvadori’s research.

Triade (Triad), 1986, dates from a very active period of his practice: on display here is a version dating from 1989 that has not been shown for a long time. It tackles the theme of the triadic figure and harks back to the ideas of those thinkers, in particular P.D. Ouspensky and George Gurdjieff, whom Salvadori has studied extensively over the years. In particular, the term “triad” indicates a dimension of existence where the ternary character of the forces that govern any manifestation enters into play and that, according Ouspensky, are ever-present in their positive, negative and neu- tralizing values. In the case of Triade, the formal solution adopted to represent this concept consists of three bottles made of bronze and joined together by two slender rods so as to visualize a route that follows two tangent circles, intersected at their meeting point by a vertical line. The rods create a connection, as if they were the means through which energy passes from one form to the other seamlessly.

Mounted on a wall is the first version of Continuo infinito presente, dating back to 1985, with a diameter of 22 cm.

Also on display in the room is Stella (Star), 2017, whose shape is reminiscent of a table. Tables are entities that have been part of the artist’s world from the outset. The first Tavolo d’ango- lo (Corner Table) that he built in 1972 around a corner in his house and studio on Via Bernardino Corio sprang from the practical need to find a way of inserting a table into a space into which it was not possible to fit a piece of furniture. Born out of a functional necessity, the genesis of this work can therefore be traced back to Salvadori’s desire to include the reality of daily life in the process of his aes- thetic speculation.

In Stella, 2017, the table has a glass top supported by copper elements that act as its base. Its presence in the exhibition has a twofold value: on the one hand it can be considered a sculpture, on the other it performs a practical function. Visitors are in fact invited to take a break near Stella, to place their things on the table, exchange a few words and use it as a point of repose. Experiencing person- ally this reality that is halfway between an artwork and an architec- tural element, in the name of a sense of conviviality and sharing.

The last work in the room is Alfabeto (Alphabet), 2013 (2016), composed of seven elements made of lead, tin, copper, iron, mercury, silver and gold. In reference to this work, in which each metal is present and given a different form, the artist has spoken of the attainment “of a fullness of understanding of the seven met- als and their correspondences” and of “clarity become alphabet.”