Rustem 

Editor: This is "Rustem," a linocut print by Gerhard Marcks. The monochrome palette and bold geometric lines create an eerie atmosphere. What do you see in this piece? Curator: I see a powerful statement on the futility of violence, particularly in relation to nation-building and historical narratives. "Rustem," likely referencing the hero from Persian mythology, is depicted lifeless, almost crucified. Considering Marcks's experiences in the First World War and his opposition to Nazi ideology, this work serves as a poignant critique of power structures and the glorification of warfare. Notice how the birds—often symbols of freedom—become vultures in this context, feeding on the fallen hero. The rigid lines of the print emphasize the oppressive, almost regimented, nature of the society that necessitates such sacrifices. What does the visual emphasis on geometry convey to you? Editor: The geometry, I think, feels stark and unforgiving, maybe reflecting the rigid expectations placed on heroes and warriors. Do you see any specific connection to Germany's sociopolitical climate at the time this work was made? Curator: Absolutely. This image speaks volumes about the societal pressures faced by individuals during times of national crisis. Marcks, as a member of the artistic avant-garde, resisted the cultural norms dictated by oppressive regimes. By depicting Rustem in this vulnerable state, he questions the very idea of heroism and exposes the cost of nationalistic fervor. Perhaps it suggests, too, how power can corrupt narratives, reducing complex human experiences into simplistic, often violent, storylines. Editor: It's interesting to consider this piece as a counter-narrative, particularly given the prevalence of propaganda and heroic portrayals during that era. Thank you, I learned a lot from our talk! Curator: Likewise, it's essential to remember that art can act as a form of resistance, prompting viewers to critically assess the stories they are told.