Exploring Colonial Echoes Through Runo Lagomarsino’s ‘Following the Light of the Sun, I Only Discovered the Ground’

Runo Lagomarsino's artwork, “Following the Light of the Sun, I Only Discovered the Ground,” stands as a powerful meditation on colonial legacies and artistic exploration. Born in Lund, Sweden, Lagomarsino’s oeuvre delves into complex narratives surrounding migration, identity, and cultural heritage—themes powerfully conveyed through his distinctive visual language. This piece, created in 2014, isn't merely an aesthetic exercise; it’s a deliberate confrontation with history, utilizing the unsettling image of Zurab Tsereteli’s monumental sculpture “Birth of the New World” as its focal point. The sculpture itself—a colossal bronze depiction of Columbus arriving in America—became embroiled in controversy upon its initial proposal for installation in the United States. Repeated rejections fueled a protracted saga, culminating in its eventual acceptance in Puerto Rico after over two decades of relocation. Lagomarsino’s slide loop presentation brilliantly captures this narrative tension, juxtaposing black-and-white photographs of the sculpture's disassembled components with Russian anthems—a jarring juxtaposition that underscores the monument’s problematic interpretation and the broader implications of colonial heritage within contemporary Latin America. He examines how societal forces have shaped historical perceptions, questioning dominant narratives and prompting viewers to consider their own role in shaping cultural memory.

A Poetic Confrontation: Style and Technique

Lagomarsino’s artistic approach is characterized by a meticulous blend of abstraction and observation. The artwork itself—a black and white photograph—documents the installation of “Birth of the New World” in Puerto Rico, capturing the logistical complexities inherent in transporting such an ambitious piece across continents. However, it's not simply a record of events; rather, Lagomarsino employs a technique rooted in sun-paper drawings – delicate sheets bleached by sunlight – to imbue his images with a palpable sense of time and decay. This method subtly references the passage of history itself, mirroring the sculpture’s journey through various locations and highlighting its vulnerability to environmental forces. The careful framing emphasizes the scale of the monument and invites contemplation on its significance within the context of colonial discourse.

Symbolism Beyond Representation

Beyond its visual elements, “Following the Light of the Sun” operates on a deeper symbolic level. Lagomarsino’s use of text—quotes from historical documents—further amplifies this effect, layering meaning onto the photographic image. These textual interventions serve as reminders of past injustices and interrogations of colonial hegemony – mirroring the artist's broader concern with confronting uncomfortable truths about cultural history. The serene actions depicted in the drawings contrast sharply with the turbulent narratives surrounding the sculpture’s fate, creating a poignant dialogue between stillness and movement, reflection and action.

Emotional Resonance: A Reflection on Memory

Ultimately, Lagomarsino's work seeks to evoke an emotional response from the viewer—a feeling of unease mingled with fascination. The photograph’s stark monochrome palette reinforces this mood, stripping away extraneous detail to focus on the core essence of the sculptural project and its historical context. “Following the Light of the Sun” compels us to confront the complexities of colonial heritage and to reconsider how monuments – and art itself—can serve as vehicles for transmitting narratives that challenge conventional understandings of history. It’s a piece designed not just to be seen but felt, prompting viewers to engage in a personal reckoning with the legacies of colonialism and its enduring influence on our collective consciousness.