BLOODPAINTINGS

In Berlin Zero Hour 4 (Quadriga Golfer), the iconic silhouette of the Brandenburg Gate spreads wide across the page — not as monument, but as stage. The Quadriga, symbol of victory and resilience, towers above a scene where history and absurdity collide. Beneath its wheels, a naked golfer, painted in blood, lifts his club into the void, the gesture of play interrupting the weight of centuries.

This Berlin is panoramic, suspended between ruin and renewal. Its buildings stretch like a fragile spine across the composition, both solid and spectral, while the red figure intrudes with unsettling indifference. The golfer does not revere the monument; he appropriates it, transforming the site of memory into a private course.

Von Wittlage’s allegory is neither satire nor parody but a deeper unease: the theatre of history reduced to backdrop, the sacred invaded by leisure. The Quadriga, once a symbol of power and survival, becomes an ornament for the timeless swing of desire.

The work belongs to the Berlin Cycle within the Golfer Series, where play is staged against the ruins of ideology, where fragility and absurdity lay bare the paradox of our age. In this tableau, Berlin is not just a city — it is a mirror, reflecting how memory, spectacle, and consumption entwine in the fabric of modern life.