Background
Ethnicity:
Runo Lagomarsino was born to Argentinian parents, descended from Italian émigrés, who fled Europe during the First World War.
Runo Lagomarsino was born in 1977, in Lund, Sweden.
Vasagatan 50, 411 37 Göteborg, Sweden
In 1999, Runo entered Valand Academy in Gothenburg, graduating with a Bachelor of Fine Arts degree in 2001.
Bergsgatan 29, 214 22 Malmö, Sweden
In 2001, Lagomarsino enrolled at Malmö Art Academy in Malmö, receiving a Master of Fine Arts degree in 2003.
From left to right: Runo Lagomarsino and Ziad Antar (in the middle).
Vasagatan 50, 411 37 Göteborg, Sweden
In 1999, Runo entered Valand Academy in Gothenburg, graduating with a Bachelor of Fine Arts degree in 2001.
Bergsgatan 29, 214 22 Malmö, Sweden
In 2001, Lagomarsino enrolled at Malmö Art Academy in Malmö, receiving a Master of Fine Arts degree in 2003.
From left to right: Runo Lagomarsino and Ziad Antar (in the middle).
(Stack of posters.)
Stack of posters.
Ethnicity:
Runo Lagomarsino was born to Argentinian parents, descended from Italian émigrés, who fled Europe during the First World War.
Runo Lagomarsino was born in 1977, in Lund, Sweden.
In 1999, Runo entered Valand Academy in Gothenburg, graduating with a Bachelor of Fine Arts degree in 2001. The same year, in 2001, he enrolled at Malmö Art Academy in Malmö, receiving a Master of Fine Arts degree in 2003. Later, during the period from 2007 till 2008, Lagomarsino was a student of the Independent Study Program of the Whitney Museum of American Art in New York City.
During his career, Lagomarsino had many solo and two-person exhibitions, held at different places, including Galeria Luisa Strina, Sao Paulo (2011); Index – The Swedish Contemporary Art Foundation, Stockholm (2012); Nils Staerk, Copenhagen (2013); Mendes Wood DM, Sao Paulo (2013); Malmö Art Museum, Malmö (2014); Francesca Minini gallery, Milan (2016), among others.
Also, his work was featured in different group exhibitions, including "I Want to be Able to See What It Is", Lunds Kunsthall, Sweden (2007); "Changing Light Bulbs in Thin Air", Hessel Museum of Art, Bard College, New York (2009); "This is Not America", El Descanso del Guerrero, San Juan, Puerto Rico (2009); "Vectors of the Possible", Basis voor Actuele Kunst, Utrecht (2010); "The Moderna Exhibition", Moderna Museet, Stockholm (2010); "The Way of the Worlds", Regional Contemporary Art Fund of Lorraine, Metz, France (2012); "The Crisis of Confidence", Galeria Victoria Art Center, Bucharest (2013); "Lives Between", The Center for Contemporary Art, Tel Aviv (2017); "Algorithm", Obra, Malmö (2018) and many others.
In addition, Runo participated in the Guangzhou Triennial and Gwangju Biennial, South Korea (both 2008), Venice Biennale, Istanbul Biennial, as well as Prague Biennial (2011) and São Paulo Biennial (2012).
Also, during his career, he participated in different artist-in-residence programs, including those in Iaspis, Stockholm (2004), Nifca, Helsinki (2004), El Basilisco, Buenos Aires (2005), Platform Garanti Contemporary Art Center, Istanbul (2006) and Fundação Armando Alvares Penteado, Lutetia Building, São Paulo (2009).
Currently, Runo divides his time between Malmö and São Paulo.
Runo Lagomarsino is an artist, known for his interest in the legacy of colonial history. He gained prominence for his works, that present a critical vision on the construction of history-based themes or analyses connections between modernism and current geopolitics.
In 2014, he received the Barbro & Holger Bäckströms Award.
The artist's works are kept in the collections of different museums, including Dallas Museum of Art, Guangdong Museum of Art, Guggenheim Museum, Malmö Art Museum, National Museum of Art, Oslo, and others.
In his multimedia artworks, Runo Lagomarsino’s interest in the legacy of transatlantic migration patterns intersects with his own biography. In his installations, collages, films and drawings, he examines different moments of transatlantic travel — from colonialism and the slave trade to the waves of immigrants during both World Wars. Through the pairings of found objects and projections of images of monuments, Lagomarsino uncovers the residue of these historical journeys. He highlights the lingering effects of political warfare and imperialist agendas, that are embedded in simple objects and sites, that form the fabric of daily life.
Lagomarsino’s work presents a well-defined political position, posses an unfinished and fragmented aspect and acts as provocative and open reflection on relations of territory and exclusion.
