Gli abbaini del potere, Ovvero l’identità oltre la cittadinanza

There is no political affectation in Giovanni Segantini's political stance, no literariness, but only the form that the life of a forcibly urbanised orphan has taken, all of it protesting to reconstitute the original emptiness. If there is a subject that emerges obsessively from Segantini (whether realist or symbolist, it makes no difference) it is the relationship with the mother, which perhaps I should write Mother, because it is certainly rooted in personal memory ("I still remember my mother, and if it were possible for her to appear here in this moment before my eyes, after thirty one years..."), but she is also the incarnation of the only true relationship, that of bodies without power, the same one that the artist will depict many times in the scene of the "two mothers", one animal and one human, characterised by the same closeness, the same physical contact made of care, affection, natural care of the needy. This bond of Life and in Life is the only one that does not involve a mask, which excludes the staging of sociality.