The European Iceberg: Creativity in Germany and Italy Today opened in the spaces of Art Gallery of Ontario in Toronto on February 8, 1985. The theme was developed in keeping with a multilingual approach, to represent a creative Babel not only in the field of art but also in architecture, design, photography, fashion, and theater. Salvadori, who went to Toronto to directly oversee the installation, presented two works: Anfora e modello, 1982 (1985), and L’attenzione divisa, 1982–1983. The first was derived from a formal solution the artist first developed in 1982; at the time, however, the amphora and the Modello were connected, with the latter no longer treated as a two-dimensional presence, but as a volume in terracotta. . . . The second is a monumental work in which two new motifs appear for the first time, which were to become formally autonomous shortly thereafter. The title again links back to the practice of self-observation, thus explained by Salvadori: “Divided attention . . . is the capacity to see oneself seeing . . . is to be inside a form of

energy which is of a particular sort, aware.” At the left extremity, these four linear meters of linen canvas display the form that would later be indicated as Germoglio, in a first version here that is marked by a polychromy derived from natural pigments and isolated “from its constructive description,” namely with the omission of the five circles that generated it. The right side features another unprecedented form, later called Le tre forze or Triade, formed by three taut strings that start from a common point with the spools at the extremities.