In Bloody Conflict, Mona von Wittlage summons the figure of a woman whose body, traced in blood, stretches defiantly across a patchwork of sanitary bags. The image pulses with both strength and fragility: limbs extended, hair cascading, one hand raised in a gesture that hovers between seduction and resistance. The utilitarian grid of packaging—each stamped with the repeated injunction “Ne pas jeter dans les W.C.”—serves as a chorus of prohibition, amplifying the tension between intimacy and control, exposure and rejection.

Here, blood becomes both weapon and wound, mark of life and signal of transience. The figure seems caught in a struggle—between visibility and erasure, between the body’s power and its inevitable vulnerability. The work refuses to be silent, confronting the viewer with the raw immediacy of flesh transformed into image. In its impermanence, Bloody Conflict reveals the paradox at the core of the Bloodpaintings: that it is precisely what fades and disappears that carries the deepest truth about being alive.