Runo Lagomarsino Lund, Sweden, 1977

The son of Argentines exiled in Sweden, Lagomarsino explores in his installations, sculptures, photographs, and videos alternative perspectives regarding power relations in their historical dimension, often based on a reflection about the permanence of colonial heritage in contemporary Latin America. He has presented in solo exhibitions at Nils Stærk, in Copenhagen, Denmark (2011 and 2013); and at The Swedish Contemporary Art Foundation, in Stockholm, Sweden (2012), among other institutions, in addition to having participated in collective shows at the Museu Reina Sofía, in Madrid (2014); at the Guggenheim Museum, in New York (2014); and the 52nd Venice Biennial, in Italy, (2011). He lives between São Paulo and Malmö, Sweden.

We all laughed at Christopher Columbus
2003, slide projection on MDF, 45,5 x 25,5 x 42,5cm
courtesy of Galeria Mendes Wood DM and the artist
La découverte de la Terre
2017, installation, variable dimensionso
courtesy of Galeria Mendes Wood DM and the artist
One side and the other
2014, poster, 50x60cm
courtesy of Galeria Mendes Wood DM and the artist

Part of a large set of works in which the artist critically addresses the role of museums based on a postcolonial perspective, these three works refer to the importance of these institutions as holders of the assets produced by colonialism and, consequently, in the consolidation of European Nation-States. In these works, the materials and images used by the artist—mainly gold and an excerpt of The First New Chronicle and Good Government (1612–1616), which is a key text to reconstitute what Inca culture was like—evoke the simultaneity of the cycles of economic and cultural plundering.