Loaded Narratives

Runo Lagomarsino sharpens his attack on European paradigms in works that make the personal highly political

By Oliver Basciano

Trans Atlantic (detail), 2010–11, 32 sun drawings and 17 unrealised sun drawings, newsprint paper, 33 × 48 cm (each). Courtesy the artist; Mendes Wood DM, São Paulo; and Nils Stærk, Copenhagen Trans Atlantic, 2010–11, 32 sun drawings and 17 unrealised sun drawings, newsprint paper, 33 × 48 cm (each). Courtesy the artist; Mendes Wood DM, São Paulo; and Nils Stærk, Copenhagen More delicate than the historians’ are the map-makers’ colours, 2012–13, HD video, 6 min 42 sec, 16:9, variable dimensions, Edition 1/3, 1 AP. Courtesy the artist; Mendes Wood DM, São Paulo; and Nils Stærk, Copenhagen Pergamon (A Place in Things), 2014, incandescent bulbs, fluorescent tubes, halogen lamps and other light devices from the Pergamon Museum, Berlin, 500×600×75cm. Courtesy the artist; Mendes Wood DM, São Paulo; and Nils Stærk, Copenhagen

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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