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    Open a larger version of the following image in a popup: Runo Lagomarsino, In the middle of the lands, 2015
    Open a larger version of the following image in a popup: Runo Lagomarsino, In the middle of the lands, 2015
    Open a larger version of the following image in a popup: Runo Lagomarsino, In the middle of the lands, 2015
    Open a larger version of the following image in a popup: Runo Lagomarsino, In the middle of the lands, 2015
    Open a larger version of the following image in a popup: Runo Lagomarsino, In the middle of the lands, 2015
    Open a larger version of the following image in a popup: Runo Lagomarsino, In the middle of the lands, 2015
    Open a larger version of the following image in a popup: Runo Lagomarsino, In the middle of the lands, 2015
    Open a larger version of the following image in a popup: Runo Lagomarsino, In the middle of the lands, 2015
    Open a larger version of the following image in a popup: Runo Lagomarsino, In the middle of the lands, 2015
    Open a larger version of the following image in a popup: Runo Lagomarsino, In the middle of the lands, 2015

    Runo Lagomarsino

    In the middle of the lands, 2015
    28 sundrawings framed in 9 frames. Texts written by Asociación pro derechos humanos de Andalucía: APDHA, Spain. Exposed to Mediterranean sun in the summer of 2015
    Variable dimensions
    RLA15004
    Inquire
    %3Cdiv%20class%3D%22title_and_year%22%3E%3Cspan%20class%3D%22title_and_year_title%22%3EIn%20the%20middle%20of%20the%20lands%3C/span%3E%2C%20%3Cspan%20class%3D%22title_and_year_year%22%3E2015%3C/span%3E%3C/div%3E%3Cdiv%20class%3D%22artist%22%3ERuno%20Lagomarsino%3C/div%3E%3Cdiv%20class%3D%22medium%22%3E28%20sundrawings%20framed%20in%209%20frames.%20Texts%20written%20by%20Asociaci%C3%B3n%20pro%20derechos%20humanos%20de%20Andaluc%C3%ADa%3A%20APDHA%2C%20Spain.%20Exposed%20to%20Mediterranean%20sun%20in%20the%20summer%20of%202015%3C/div%3E%3Cdiv%20class%3D%22dimensions%22%3EVariable%20dimensions%3C/div%3E

    Further images

    • (View a larger image of thumbnail 1 ) Runo Lagomarsino, The Persistent Action of a Falling Tear, 2023
    • (View a larger image of thumbnail 2 ) Runo Lagomarsino, The Persistent Action of a Falling Tear, 2023
    • (View a larger image of thumbnail 3 ) Runo Lagomarsino, The Persistent Action of a Falling Tear, 2023
    • (View a larger image of thumbnail 4 ) Runo Lagomarsino, The Persistent Action of a Falling Tear, 2023
    • (View a larger image of thumbnail 5 ) Runo Lagomarsino, The Persistent Action of a Falling Tear, 2023
    • (View a larger image of thumbnail 6 ) Runo Lagomarsino, The Persistent Action of a Falling Tear, 2023
    • (View a larger image of thumbnail 7 ) Runo Lagomarsino, The Persistent Action of a Falling Tear, 2023
    • (View a larger image of thumbnail 8 ) Runo Lagomarsino, The Persistent Action of a Falling Tear, 2023
    • (View a larger image of thumbnail 9 ) Runo Lagomarsino, The Persistent Action of a Falling Tear, 2023
    • (View a larger image of thumbnail 10 ) Runo Lagomarsino, The Persistent Action of a Falling Tear, 2023
    Runo Lagomarsino's 'In the Middle of the Lands' (2015) originates from slogans written by activists from the human rights organization Asociación Pro Derechos Humanos de Andalucía (APDHA) in Spain. These...
    Read more
    Runo Lagomarsino's "In the Middle of the Lands" (2015) originates from slogans written by activists from the human rights organization Asociación Pro Derechos Humanos de Andalucía (APDHA) in Spain. These slogans address urgent issues such as migration, European border control, and the countless deaths of people attempting to cross the Mediterranean Sea.
    Rather than being written directly on the paper, the slogans have been transferred onto it through exposure to sunlight. This process leaves some of the texts nearly invisible, while others remain legible. In this way, the work invites – or rather demands – an attentive and committed reading.
    It is in the vulnerability of the words, the fragility of arguments when exposed to the erosion of time and nature, and to the shifting politics of amnesia and denial, that the artist’s gesture takes form. Through this subtle yet charged process, Lagomarsino creates a space where disappearance itself becomes material—calling attention to what is forgotten, erased, or silenced.
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