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Matthew Gale

(b Vergato, nr Bologna, Nov 24, 1943).

Italian painter, sculptor, conceptual artist and film maker. His first one-man show (1970; Milan, Gal. S Fedele) reflected his awareness of Arte Povera in the multifarious cut-outs of corrugated cardboard and rubber. Ontani’s major occupation was, however, enacting ritualized performances, as in the fire-walking film Fuochino (1972) shown at the Venice Biennale of 1972. In common with several contemporaries, he transformed himself, updating artistic quotations as a critique of past culture; he assumed a pose from David’s Rape of the Sabines in the punningly entitled Rattondo David (‘Raping David’, photographic tondo, 700 mm, 1974; see 1991 exh. cat., p. 43) to comment upon this process, as well as the retrospective sanitization of European culture. In performances at the Galleria L’Attico, Rome (with Jannis Kounellis, Francesco Clemente and others), Ontani acted out emblematic characters, from Don Quixote (1974) to Dracula (1975). In addition to such referential photographs as ...

Article

Salvo  

Matthew Gale

[Mangione, Salvatore]

(b Leoforte, Sicily, May 22, 1947).

Italian conceptual artist and painter. After participating in the revolutionary activities of 1968, he produced works that were associated with the conceptual wing of Turinese Arte Povera when shown at the Galleria Sperone (1970). In 12 Self-portraits (photomontages, 1969; New York, John Weber Gal.) Salvo pasted a picture of himself into newspaper photographs of Cuban revolutionaries, Nazi troops and factory workers. He assumed the burden of the complexity of history on various levels: fables, in handwritten manuscripts (e.g. Salvo in Wonderland, 1971; Paris, Yvon Lambert priv. col.); memorials, in marble inscriptions of great figures ending in his own name (e.g. 40 Names, 1971); and nationalism, in the neon ‘Salvo’ in the colours of the Italian flag, Tricolore (1971; Cologne, Paul Maenz priv. col.; all in 1977 exh. cat., pp. 29, 31 and 35).

Strategies of exploration through self-representation were shared by such contemporaries as Boetti and Anselmo, and Salvo exhibited alongside them in ...