In the photographic documentation of the intervention La Tempesta (2023), Segantin reflects on residual urban spaces, places where management and control are temporarily suspended, making them subject to continuous movement.

In collaboration with the wind and the natural spread of poplar inflorescence, the project was realized within the disused area of the former Falk steelworks and falls within the context of documentary photography of industrial archaeology.

 

luce (2024) opens the exhibition. The photographic work, placed at the top of the suspended staircase that connects the two floors of the gallery, is the key to the interpretation of the entire exhibition: a circular-shaped poplar floats brightly in the centre of the image, standing out against the darker background. A visual disruption, an organic invasion that multiplies and, blown by the wind, overlaps with the intricate spontaneous vegetation in the work grande nero (2024).

 

The temporal perspective of this movement is captured in the diptych il paradiso (2024), where the pappos, at different times, spread with more or less intensity against the pioneering vegetation backdrop, crossed by an enormous concrete beam. The material composition and layering of the foundations of architecture are the subject of geologia (2024), placed in close dialogue with the installation of organic material senza titolo (lamio rosso) (2024) in the centre of the room. In this slender parallelepiped made of red lamium flowers, collected, dried and processed by the artist, architecture takes on a central role, by reflecting on the occupation of land and the forms imposed on space by modern structures. The installation becomes almost a construction material, absurd and ineffective in its total lack of use and fragility. Segantin's works are characterised by a strong empathy with the non-human and shift the subject from architecture to the unwanted landscape, represented in its constant state of becoming.