Read the full text by Julieta González here
The meeting that makes possible an exhibition that puts into dialogue the works of e Carla Zaccagnini’s and Runo Lagormarsino’s extends beyond the sensitive proximities evident in the approximation of a couple of artists. It is the way home that moves us away, takes place ten years after the exhibition that the two artists held at the Malmö Konsthall, curated by Diana Baldon. The curator already pointed out, at that time, the many similarities between the productions of the two artists: the post-conceptual approach, the transnationalism of both biographies, institutional critique, and the revision of history, among others.
“Crossings, comings and goings, departures, returns, and what happens in between, are intertwined into Carla Zaccagnini’s and Runo Lagomarsino’s personal lives and respective works. This exhibition itself is a sort of path, where their trajectories cross and then bifurcate if only to meet again…,” writes Julieta González in the exhibition text.
Carla Zaccagnini adds: “There is no doubt that living together brings us closer. Groups of friends, students in the same class, close relatives end up sharing references, creating a common language, collecting a repertoire of inside jokes. Over the years living together, we are infected with expressions and gestures as if they were symptoms. We read or think we’ve read the same books, reconstruct or reinvent each film with poorly stored scenes scattered through our memories, guide and divert each other’s lines in dialogues that no one knows when they begin.”
Read the full text by Julieta González here
The meeting that makes possible an exhibition that puts into dialogue the works of e Carla Zaccagnini’s and Runo Lagormarsino’s extends beyond the sensitive proximities evident in the approximation of a couple of artists. It is the way home that moves us away, takes place ten years after the exhibition that the two artists held at the Malmö Konsthall, curated by Diana Baldon. The curator already pointed out, at that time, the many similarities between the productions of the two artists: the post-conceptual approach, the transnationalism of both biographies, institutional critique, and the revision of history, among others.
“Crossings, comings and goings, departures, returns, and what happens in between, are intertwined into Carla Zaccagnini’s and Runo Lagomarsino’s personal lives and respective works. This exhibition itself is a sort of path, where their trajectories cross and then bifurcate if only to meet again…,” writes Julieta González in the exhibition text.
Carla Zaccagnini adds: “There is no doubt that living together brings us closer. Groups of friends, students in the same class, close relatives end up sharing references, creating a common language, collecting a repertoire of inside jokes. Over the years living together, we are infected with expressions and gestures as if they were symptoms. We read or think we’ve read the same books, reconstruct or reinvent each film with poorly stored scenes scattered through our memories, guide and divert each other’s lines in dialogues that no one knows when they begin.”
2 advertising inflatable air dancer with text
Photo Filipe Berndt
variable dimensions
2 advertising inflatable air dancer with text
Photo Filipe BerndtPhoto Filipe Berndt
With Carla Zaccagnini and Runo Lagomarsino
Photo Vermelho
A dialogue between the two artists is staged in two venues that house the two galleries that respectively represent each of the artists, Vermelho and Mendes Wood DM, separated by the length of Avenida Angélica in Sao Paulo. Linking both spaces is a peripatetic performance, the only collaborative work between the artists in the exhibition(s), entitled “Justice is the presence of love in public space,” borrows a phrase by African American intellectual Cornel West. During the whole exhibition period, two people will leave both galleries in the direction of the other, each one wearing a t-shirt. One reads “justice” on the front and “in public space” on the back, the other one reads “is the presence” on the front and “of love” on the back. At some point during the walk their paths will cross, and the phrase will come together “justice is the presence of love in public space,” only to break up apart moments later when the performers continue on their way.
Excerpt from It is the way home that moves us away, by Julieta González
With Carla Zaccagnini and Runo Lagomarsino
Photo VermelhoA dialogue between the two artists is staged in two venues that house the two galleries that respectively represent each of the artists, Vermelho and Mendes Wood DM, separated by the length of Avenida Angélica in Sao Paulo. Linking both spaces is a peripatetic performance, the only collaborative work between the artists in the exhibition(s), entitled “Justice is the presence of love in public space,” borrows a phrase by African American intellectual Cornel West. During the whole exhibition period, two people will leave both galleries in the direction of the other, each one wearing a t-shirt. One reads “justice” on the front and “in public space” on the back, the other one reads “is the presence” on the front and “of love” on the back. At some point during the walk their paths will cross, and the phrase will come together “justice is the presence of love in public space,” only to break up apart moments later when the performers continue on their way.
Excerpt from It is the way home that moves us away, by Julieta González
With Carla Zaccagnini and Runo Lagomarsino
Photo Vermelho
A dialogue between the two artists is staged in two venues that house the two galleries that respectively represent each of the artists, Vermelho and Mendes Wood DM, separated by the length of Avenida Angélica in Sao Paulo. Linking both spaces is a peripatetic performance, the only collaborative work between the artists in the exhibition(s), entitled “Justice is the presence of love in public space,” borrows a phrase by African American intellectual Cornel West. During the whole exhibition period, two people will leave both galleries in the direction of the other, each one wearing a t-shirt. One reads “justice” on the front and “in public space” on the back, the other one reads “is the presence” on the front and “of love” on the back. At some point during the walk their paths will cross, and the phrase will come together “justice is the presence of love in public space,” only to break up apart moments later when the performers continue on their way.
Excerpt from It is the way home that moves us away, by Julieta González
With Carla Zaccagnini and Runo Lagomarsino
Photo VermelhoA dialogue between the two artists is staged in two venues that house the two galleries that respectively represent each of the artists, Vermelho and Mendes Wood DM, separated by the length of Avenida Angélica in Sao Paulo. Linking both spaces is a peripatetic performance, the only collaborative work between the artists in the exhibition(s), entitled “Justice is the presence of love in public space,” borrows a phrase by African American intellectual Cornel West. During the whole exhibition period, two people will leave both galleries in the direction of the other, each one wearing a t-shirt. One reads “justice” on the front and “in public space” on the back, the other one reads “is the presence” on the front and “of love” on the back. At some point during the walk their paths will cross, and the phrase will come together “justice is the presence of love in public space,” only to break up apart moments later when the performers continue on their way.
Excerpt from It is the way home that moves us away, by Julieta González
With Carla Zaccagnini and Runo Lagomarsino
Photo Vermelho
A dialogue between the two artists is staged in two venues that house the two galleries that respectively represent each of the artists, Vermelho and Mendes Wood DM, separated by the length of Avenida Angélica in Sao Paulo. Linking both spaces is a peripatetic performance, the only collaborative work between the artists in the exhibition(s), entitled “Justice is the presence of love in public space,” borrows a phrase by African American intellectual Cornel West. During the whole exhibition period, two people will leave both galleries in the direction of the other, each one wearing a t-shirt. One reads “justice” on the front and “in public space” on the back, the other one reads “is the presence” on the front and “of love” on the back. At some point during the walk their paths will cross, and the phrase will come together “justice is the presence of love in public space,” only to break up apart moments later when the performers continue on their way.
Excerpt from It is the way home that moves us away, by Julieta González
With Carla Zaccagnini and Runo Lagomarsino
Photo VermelhoA dialogue between the two artists is staged in two venues that house the two galleries that respectively represent each of the artists, Vermelho and Mendes Wood DM, separated by the length of Avenida Angélica in Sao Paulo. Linking both spaces is a peripatetic performance, the only collaborative work between the artists in the exhibition(s), entitled “Justice is the presence of love in public space,” borrows a phrase by African American intellectual Cornel West. During the whole exhibition period, two people will leave both galleries in the direction of the other, each one wearing a t-shirt. One reads “justice” on the front and “in public space” on the back, the other one reads “is the presence” on the front and “of love” on the back. At some point during the walk their paths will cross, and the phrase will come together “justice is the presence of love in public space,” only to break up apart moments later when the performers continue on their way.
Excerpt from It is the way home that moves us away, by Julieta González
Photo Vermelho
Graphite on paper and colorplus paper support
Photo Vermelho
Outline of all dictionaries between Swedish and other languages belonging to the Malmö library.
33 x 42 cm each - 41 drawings
Graphite on paper and colorplus paper support
Photo VermelhoOutline of all dictionaries between Swedish and other languages belonging to the Malmö library.
Stamp ink on the back of school maps
Photo Filipe Berndt
These (the Dactylograms) establish a conversation with Zaccagnini’s World Words, an inventory, yet another index, of words that appear repeatedly on national anthems (soil, earth, land, country, bravery, chains, struggle). Both works perform as indexes of the symbolic construction of a nation state, of the idea of home and belonging related to the land.
Excerpt from It is the way home that moves us away, by Julieta González
variable dimensions
Stamp ink on the back of school maps
Photo Filipe BerndtThese (the Dactylograms) establish a conversation with Zaccagnini’s World Words, an inventory, yet another index, of words that appear repeatedly on national anthems (soil, earth, land, country, bravery, chains, struggle). Both works perform as indexes of the symbolic construction of a nation state, of the idea of home and belonging related to the land.
Excerpt from It is the way home that moves us away, by Julieta González
Stamp ink on the back of school maps
Photo Vermelho
(…)These (the Dactylograms) establish a conversation with Zaccagnini’s World Words, an inventory, yet another index, of words that appear repeatedly on national anthems (soil, earth, land, country, bravery, chains, struggle). Both works perform as indexes of the symbolic construction of a nation state, of the idea of home and belonging related to the land.(…)
Excerpt from It is the way home that moves us away, by Julieta González
203 x 200 cm
Stamp ink on the back of school maps
Photo Vermelho(…)These (the Dactylograms) establish a conversation with Zaccagnini’s World Words, an inventory, yet another index, of words that appear repeatedly on national anthems (soil, earth, land, country, bravery, chains, struggle). Both works perform as indexes of the symbolic construction of a nation state, of the idea of home and belonging related to the land.(…)
Excerpt from It is the way home that moves us away, by Julieta González
Exhibition setup, It’s the way home that takes us away. From right to left: Abraão Reis, Runo Lagomarsino and Carla Zaccagnini
Photo Vermelho
Exhibition setup, It’s the way home that takes us away. From right to left: Abraão Reis, Runo Lagomarsino and Carla Zaccagnini
Photo VermelhoExhibition setup, It’s the way home that takes us away. From right to left: Henrique Oliveira e Abraão Reis.
Photo Vermelho
Exhibition setup, It’s the way home that takes us away. From right to left: Henrique Oliveira e Abraão Reis.
Photo VermelhoStamp ink on the back of school maps
Photo Filipe Berndt
Stamp ink on the back of school maps
Photo Filipe BerndtPhoto Filipe Berndt
Photo Filipe Berndt
Inkjet printing on paper
Photo Vermelho
These (the Dactylograms) establish a conversation with Zaccagnini’s World Words, an inventory, yet another index, of words that appear repeatedly on national anthems (soil, earth, land, country, bravery, chains, struggle). Both works perform as indexes of the symbolic construction of a nation state, of the idea of home and belonging related to the land.
Excerpt from It is the way home that moves us away, by Julieta González
variable dimensions
Inkjet printing on paper
Photo VermelhoThese (the Dactylograms) establish a conversation with Zaccagnini’s World Words, an inventory, yet another index, of words that appear repeatedly on national anthems (soil, earth, land, country, bravery, chains, struggle). Both works perform as indexes of the symbolic construction of a nation state, of the idea of home and belonging related to the land.
Excerpt from It is the way home that moves us away, by Julieta González
Inkjet printing on paper
Photo reproduction
Comparative study of national anthems.
.
These (the Dactylograms) establish a conversation with Zaccagnini’s World Words, an inventory, yet another index, of words that appear repeatedly on national anthems (soil, earth, land, country, bravery, chains, struggle). Both works perform as indexes of the symbolic construction of a nation state, of the idea of home and belonging related to the land.
Excerpt from It is the way home that moves us away, by Julieta González
variable dimensions
Inkjet printing on paper
Photo reproductionComparative study of national anthems.
.
These (the Dactylograms) establish a conversation with Zaccagnini’s World Words, an inventory, yet another index, of words that appear repeatedly on national anthems (soil, earth, land, country, bravery, chains, struggle). Both works perform as indexes of the symbolic construction of a nation state, of the idea of home and belonging related to the land.
Excerpt from It is the way home that moves us away, by Julieta González
Photo Vermelho
Video – Color, no sound
Photo video still
loop
Video – Color, no sound
Photo video stillPhoto Filipe Berndt