L'Atelier de la peintrice. Allégorie réelle déterminant une phase de sept années de ma vie artistique dans la République de Berlin, 2000

Likewise, 150 years later, Creischer, under the pseudonym of Alice Ohneland (Alicia Without Country), uses "real allegory" as a basis for planning the power structure of the "Republic of Berlin". Creischer chooses the Courbet work as an historical paradigm of all the debates that emerged in the 1990s about art and politics. The artist portrays groups of people who are representatives of the different facets of German life and, like Courbet, her friend the poet Sabeth Buchmann. Creischer doesn't portray herself as a central figure of the composition, but appears instead wielding a magnifying glass and examining an illustration of Berlin's Siegessaüle (Victory Column): as a reflection of her own perception, the image in the magnifying glass is that of the Vendôme Column, demolished in 1871 by the Paris Communards, who included Courbet himself. In her imagination the artist plays with the idea of pulling down the Berlin Siegessaüle, a gift of the French government's for the help provided by the Prussian military in the defeat of the Paris Commune. Realised on transparent material, leaving some lines unpainted, with the help of a projector the work creates images of light embodying figures from the tale of legendary magician Dr. Invisible, who made rabbits appear and disappear from his hat. This installation was created by Alice Creischer as part of the exhibition by Roger Buergel and Ruth Noack, Things We Don't Understand (Generali Foundation, Vienna, 2000), with which they sought to launch a new discussion of the idea of artistic autonomy.