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                    <text>A photography of a map of the world, tattooed on a bottom.</text>
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                    <text>Letter used by the artist to present the project and invite the tatooists to contribute.</text>
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                  <text>&lt;p&gt;Runo Lagomarsino (b. 1977, Sweden) lives and works in Malmö and São Paulo.&amp;nbsp;He participated in the Whitney Museum of American Art Independent Study Program in 2007-2008 and received his MFA at the Malmö Art Academy in 2003. The artist tries to construct frictions between language, representation, and dominant narratives by investigating fractures and blind paths from where to tell other stories, unlearn, read the past, and name the future. Lagomarsino has participated in numerous solo and group exhibitions across the world, including &lt;em&gt;West is everywhere you look&lt;/em&gt;, Francesca Minini, Milano (2016); &lt;em&gt;Carla Zaccagnini &amp;amp; Runo Lagomarsino&lt;/em&gt;, Malmö Konsthall (2015); &lt;em&gt;Against My Ruins&lt;/em&gt;, Nils Stærk, Copenhagen (2014); &lt;em&gt;We have everything, but that’s all we have&lt;/em&gt;, Mendes Wood DM, São Paulo (2013), and &lt;em&gt;For Each Light a Shadow&lt;/em&gt;, Ignacio Liprandi, Buenos Aires (2013);&lt;em&gt; the World’s Futures&lt;/em&gt;, the 56&lt;sup&gt;th&lt;/sup&gt; Venice Biennale (2015); &lt;em&gt;Really useful knowledge&lt;/em&gt;, Museo Nacional Centro de Arte Reina Sofía, Madrid (2014); &lt;em&gt;Under the Same Sun&lt;/em&gt;, Guggenheim Museum, New York (2014); &lt;em&gt;The 30&lt;sup&gt;th&lt;/sup&gt;&lt;/em&gt; &lt;em&gt;São Paulo Biennial – The Imminence of Poetics&lt;/em&gt; (2013); &lt;em&gt;Untitled – 12&lt;sup&gt;th&lt;/sup&gt; Istanbul Biennial&lt;/em&gt; (2011)&lt;em&gt; and The Moderna Exhibition&lt;/em&gt;, Moderna Museet, Stockholm (2010).&lt;/p&gt;</text>
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                <text>&lt;p style="font-weight: 400;"&gt;The project, never realised, is part of Runo Lagomarsino’s recurring interest in the map as a historical model and a tool of representation. Drawing on the artist’s fascination with tattooing, the work involved inviting tattoo artists from different countries to draw, without any predetermined constraints or rules, their own personal interpretation of the world map. Through this plurality of perspectives, the project would have challenged the apparent objectivity of cartographic representation, highlighting its ideological nature and its connection to specific visions and forms of territorial control.&lt;br /&gt;&lt;a href="http://moremuseum.org/omeka/files/original/005b66662f3abe269350b8db6c68323b.pdf" target="_blank" rel="noopener"&gt;Read more.&lt;/a&gt;&lt;br /&gt;&lt;a title="" name="_ftnref3" href="#_ftn3"&gt;&lt;/a&gt;&lt;/p&gt;</text>
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                <text>Scotti, Marco</text>
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                <text>&lt;a href="http://dspace-unipr.cineca.it/handle/1889/3241" target="_blank" rel="noopener"&gt;http://dspace-unipr.cineca.it/handle/1889/3241http&lt;/a&gt;</text>
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                <text>Runo Lagomarsino</text>
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