‘The Four Avenging Angels of Euphrates’, Dürer, c. 1500 + ‘The Departure of the Warrior’, by Amo Broker, Sculptor from the Third Reich, c. 1939 1995 - 2007

Curator: This is León Ferrari's work combining ‘The Four Avenging Angels of Euphrates’, by Dürer, with ‘The Departure of the Warrior’, by Arno Breker. Editor: Wow, it's powerful. The juxtaposition creates such a striking sense of foreboding and almost aggressive historical commentary, right? Curator: Precisely. The Dürer woodcut brings centuries of apocalyptic imagery, those avenging angels that signify devastation, and placed above Breker’s sculpture… Editor: …which, let’s be honest, embodies a certain kind of hyper-masculine ideal embraced by the Third Reich. So, Ferrari sets up this clash between religious terror and human, historical terror. Curator: Yes, this piece encapsulates Ferrari’s relentless critique of power structures, exposing the continuity of violence and oppression through iconic imagery. Editor: It’s like he’s saying, "Look, these symbols—religious or secular—have been used to justify horrors throughout history." It's a chilling reminder, really. Curator: Indeed. It’s a potent reminder that symbols, when weaponized, can unleash devastating forces. Editor: A thought-provoking composition that stays with you. I feel like I could look at this for hours and still discover new layers of meaning.