Yo también soy humo (I am also smoke)

2020 - Film & Video (Film & Video)
3:16 minutes

Runo Lagomarsino

location: Malmo, Sweden

location: Sao Paolo, Brazil

year born: 1977

gender: male

nationality: Italian-Argentine-Swedish

home town: Sweden

Yo también soy humo (I am also smoke) is a 16mm film that has been digitized to video. It features a single shot of a vintage postcard depicting the Columbus Monument and the port of Barcelona, both of which are linked to colonial histories and historical trajectories. The sea is an unnaturally bright blue. In the foreground, the tram cars are painted in an unusually saturated shade of red. A crease in the postcard’s paper runs through the sky like a shadow, mocking the enduring certainty of Columbus’ gesture of dramatically pointing out toward the “New World.” In the film, Lagomarsino’s father tells a story about arriving in Europe from Argentina after being forced into exile by the illegal military regime that killed and disappeared thousands of Argentineans between 1976 and 1983 on a voiceover in measured, rhythmic Spanish. He sat on a suitcase, lit a cigarette, and resolved to forget about Argentina and all the fear and death he, his wife, and their young daughter had left behind. For the duration of a cigarette, it is a nostalgic, dispirited retelling of displacement. The work confronts the audience with this reality as it is linked to exile and to the loss of belonging and security. It captures the feeling of relief that comes with arriving after a long and uncertain journey and breathing the air of a foreign city for the first time in a place where you know you’ll have to survive.

Runo Lagomarsino’s installations, sculptures, and films provide alternative perspectives on historical, political, and cultural power dynamics. His work, which is concerned with how power relations have manifested in colonial contexts, calls hegemonic versions of history into question, particularly in South America. As a result, he frequently deviates from the images generated by these histories to displace and transform them. On the other hand, the artist does not seek to tell other stories, reveal hidden truths, or create new historical narratives from a colonized perspective. Instead, it aims to rewrite the same stories, exposing contradictory dependencies and complex political dynamics.