Runo Lagomarsino’s “Following the Light of the Sun, I Only Discovered the Ground”: A Meditation on Monumentality and Colonial Echoes

Runo Lagomarsino's "Following the Light of the Sun, I Only Discovered the Ground" isn’t merely a visual representation; it’s an immersive experience designed to provoke contemplation about history, memory, and the lingering influence of colonial legacies. Born in Lund, Sweden, in 1977, Lagomarsino operates at the intersection of video art, sculpture, drawing, and photography, consistently interrogating societal narratives through meticulously crafted pieces that challenge conventional understandings of artistic expression. His work delves into complex themes – migration, identity, cultural heritage – employing everyday materials and techniques to forge connections between personal observation and broader historical contexts. The centerpiece of Lagomarsino’s oeuvre is this ambitious slide loop presentation, born from a fascination with Zurab Tsereteli's monumental sculpture “Birth of the New World,” commissioned to commemorate Columbus’s voyage in 1992. Despite repeated refusals by US institutions and governmental bodies over two decades, the statue ultimately found its home in Puerto Rico, marking a significant victory for artistic perseverance amidst bureaucratic obstacles. Lagomarsino doesn't simply depict the sculpture; he dissects it—interspersing segments of the Russian anthem with grainy black-and-white photographs documenting its protracted journey and disassembly. This deliberate juxtaposition serves as a potent reminder of a Cold War monument, embodying an egregious misreading of history and highlighting the detrimental effects of ideological biases on artistic endeavors. The artist’s exploration extends beyond mere historical critique; Lagomarsino investigates how colonial heritage shapes contemporary Latin American culture. His images—often quotations from texts—are imbued with serene actions that disrupt conventional perceptions of art as solely intellectual pursuit. Particularly noteworthy are his “4 Date Drawings,” created by exposing sheets of paper to sunlight, transforming them into ethereal canvases where time itself seems to dissolve. These drawings aren’t simply aesthetically pleasing; they represent a deliberate attempt to capture the essence of a moment—a fleeting glimpse of light and shadow that encapsulates the artist's preoccupation with capturing intangible qualities. The artwork itself is presented as a postcard featuring a painting by Lagomarsino titled “Following the Light of the Sun, I Only Discovered the Ground.” The image depicts a statue of a man standing on top of a pedestal with a flag in his hand. It’s accompanied by a stamp bearing the emblem of Bruges, Belgium, adding an element of geographical specificity to the artistic statement. The painting's muted palette and meticulous detail contribute to its contemplative atmosphere—a deliberate echo of the monumental sculpture Lagomarsino examines. Furthermore, it was showcased at la Biennale di Venezia in 2014, cementing its place within a prestigious international art forum. Ultimately, “Following the Light of the Sun” transcends stylistic categorization; it’s an evocative meditation on memory and representation. Lagomarsino compels viewers to confront uncomfortable truths about historical narratives and artistic interpretations—a challenge that resonates powerfully with collectors and interior designers seeking pieces that stimulate intellectual curiosity alongside aesthetic appreciation. It's a testament to the artist’s ability to transform commonplace materials into vehicles for profound reflection, ensuring that “Following the Light of the Sun” continues to inspire dialogue and contemplation for years to come.