Salò

Adamo Macri’s Salò confronts a historical moment through a charged image derived from Pasolini’s Salò, or the 120 Days of Sodom; it evokes beauty intertwined with horror. Macri captures the paradox understood by Pasolini: the film's aesthetic allure masks its brutal content. In the artwork, colour serves dual purposes—both as a captivating element and as a form of critique. The term “Salò” becomes more than a name, embodying the weight of Fascism and historical oppression linked to Mussolini’s regime. Macri’s piece creates an interior landscape where figures of power linger as unseen forces, establishing a psychological dimension instead of mere representation. The concept of "Veiled Illusions" emerges, highlighting the seductive yet deceptive surface of the image. It invites viewers to admire its beauty while being aware of underlying horrors, echoing the narrative structure of Pasolini's film without reproducing it. The static image suggests a moment suspended in the midst of cruelty and ideological exploitation, avoiding a direct portrayal of suffering. Instead, it invokes the discomfort surrounding the intersection of aesthetic beauty and ethical confrontation, questioning our engagement with disturbing imagery. Thus, Macri’s work interrogates our relationship with images of atrocity and the complexities of visual consumption, becoming a reflection of moral tension and the act of looking.

Salò is featured in The Best Contemporary Masters 2024 publication by Fondazione Effetto Arte.

“Despite the dark undertones of its title, “Salò” exudes an eerie, otherworldly gentleness—a juxtaposition that is characteristic of Macri’s work. Through masterful use of color and lighting, he imbues the portrait with a sense of innocence, albeit one tinged with ambiguity. Radu notes the expressionless face of the subject, yet discerns a subtle aura of deception lurking beneath the surface—a testament to Macri’s skill in evoking complex emotions through visual imagery.”
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"Deeply powerful. That film was so real and Pasolini never saw it. Unfortunately, we still live among such 'souls'. As we work with that energy, there is a balance and truth revealed. The hair is fantastic, as well as the entire portrait.. you have the eyes of wisdom. The longer I look at this photo, the more it says. The concept is accomplished.. and yes, I do like this one in particular, there's a balance here, inner balance."
~ John Felice Ceprano (Ottawa rock sculptor, painter)
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"Salò! I see intricate, narrative intimations here (from literature to film to politics to psychology), and it's both difficult but fascinating to find my way through them. Congratulations, Adamo."

“In that regard, the Salò portrait can be viewed as a silent witness to personal or social ills and violations. The severe palette of black and brown tones, the eyes and the darkness of the undifferentiated body, all hint at restrictions and disturbances of dangerous kinds, perhaps like those made explicit in Pasolini and de Sade.”
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“Very amazing! I love your art and the vibe you create! Very original!”
~ Johnny Stirpe (YouTube, Harvard)
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“Behold the man!”
~ Bob Boldt (American artist, writer, poet, film/video maker)
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"Pasolini's film is both divisive and undeniably a masterpiece. If it were possible to separate its challenging subject matter from its stunning cinematography, it might resonate more with those who find it too unsettling to engage with. The film features one of the most exquisite and harmonious color palettes ever captured on screen. Each shot serves as a testament to the artistry of color, showcasing a level of perfection that deserves recognition rather than dismissal."
~ Adamo Macri


Salò, 2022
Photography: Chromogenic C-print
43 x 43 cm
Overall: (info missing)