Artist takeover: Studio visits

In his works, he often starts with familiar, not to say traditional, forms, which he then attacks, shifts, transcends, scrutinises and confronts.

In the work ”America Amnesia” one of the Museum’s walls is stamped with the phrase ”America Amnesia” in long lines, covering the entire surface. The letters form signs, words, a phrase, a statement, and a pattern. By allowing the first letters to overlap, Lagomarsino both connects and dissolves them in one simple gesture.

Runo Lagomarsino is born 1977 and has been featured at the Venice Biennale, the Guggenheim (New York), Reina Sofía (Madrid), Malmö Konsthall, the São Paulo Biennale, and LACMA (Los Angeles). Lagomarsino was awarded the Friends of Moderna Museet 2019 Sculpture Prize. He is educated at the HDK-Valand – Academy of Art and Design in Gothenburg, at the Malmö art Academy and in New York. Lives and works in Malmö.

Watch the live-stream from Runo Lagomarsino’s studio on Facebook: Ateljébesök: Runo Lagomarsino | Facebook

When exploratory blasting was carried out for mineral prospecting in Gállok/ Kallak outside Jokkmokk in northern Sweden 2013, this provoked protests in the region. Katarina Pirak Sikku witnessed the protests. During a police intervention, she spread large, white geotextiles in front of the protesters. When the police, demonstrators, the prosecutor and representatives of the mining company walked or drove across this surface, their tracks were documented. The textile thus became contemporary frottage, bearing the marks of the ground underneath and the events above it: the “earth’s testimony”. ”Gallók – Kallak”, 2013, is on display in Moderna Museet’s collection.

In “A Room of One’s Own/A Thousand Libraries” Kajsa Dahlberg has perused every Swedish copy of Virginia Woolf’s feminist classic “A Room of One’s Own” that was available in Swedish libraries. She then traced and duplicated all the comments and underlinings that readers had made in these public copies, to make a new edition with manually transcribed reader comments from nearly fifty years of Swedish history. This new edition was printed and bound as an artist’s book in one thousand copies. Dahlberg points at the importance of the reading, and how reception and interpretation are an integral part of authorship. What she is interested in, and what Virginia Woolf was interested in, are the conditions under which women create. “A Room of One’s Own/A Thousand Libraries” is on display in Moderna Museet’s collection.