The exhibition conceived for Palazzo Reale has been developed on the basis of different modes of display. In some cases there are works that create a dense visual mesh, as in the case of the Verticali, while in others there are single works on which a power- ful energy is focused. While visitors may not be able to grasp their meaning immediately, they will not only be attracted by their simple and at the same time complex forms, but also perceive the inten- sity of their content.

This is the case with Anfora e modello (Amphora and Model), 1982 (2025), realized specifically for the exhibition. Although immobile in its sculptural dimension, it alludes to the idea of trans- port, of things being taken from one state to another, and is a repre- sentation of the figure of the artist who has developed an awareness of his practice as an act necessary for him to gain an understand- ing of his own identity and that of others.

The amphora and the model are joined in an anthropomorphic transposition, delineat- ing the figure of a St. Christopher carrying the Christ child on his back across a river. This is why a small painting by a 15th-century Lombard artist representing the saint, whose iconography is linked conceptually to Anfora e modello, has been hung in the same room. Although the work – which appeared for the first time at the Venice Biennale in 1982 – has been created for the occasion, it is presented here in a manner similar to how the artist installed a smaller version of it in his studio: surrounded by Continuo infinito presente, 1985 (1988-2016), composed of nine circles set one on top of the other, positioned in such a way as to suggest an almost casual arrangement. Two types of works that, while differ- ing in their appearance, seem to be united by the same need to express an atemporal direction.