Runo Lagomarsino has something of the nineteenth-century Romantic tradition to his work: there lies in his films, slideshows, sculptures and actions (of which mostly just the remnants or documentation constitute the work) an interest in nature and the ravages of time; a melancholia, or rather, to use the Brazilian Portuguese term, saudade; a yearning; a sense of distance travelled, geographical or temporal. The work has a hard-bitten edge too. A political sharpness, one that’s feeling sharper as Lagomarsino’s personal interests…
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