[no title] Possibly 1976 - 2007

Curator: This undated work by León Ferrari, held at the Tate, presents a collage of newspaper clippings on paper. My immediate impression is a sense of urgency and fragmentation, wouldn't you agree? Editor: Absolutely. It's a stark, almost brutal composition. The clipped headlines feel like screams from the past, echoes of disappearances and the refugee crisis. There's a rawness I find incredibly moving. Curator: The clippings relate to refugees and disappearances in Latin America. Ferrari often used collage to confront political injustices. The dates scribbled on the paper—seem to emphasize the timeline of the historical events. Editor: They do! It's like pinning down moments of intense human suffering. I see this as Ferrari making a very personal archive, using the visual language of news to express something beyond words. A lament, maybe? Curator: Perhaps a lament, but also a call to remember, ensuring these events aren't forgotten. Ferrari's work continually reminds us of the weight of history and its enduring symbols of loss and resilience. Editor: I agree. It's a powerful piece, a necessary reminder of the human cost of political turmoil. It's a quiet, yet impassioned scream that lingers long after you've moved on.