Alice Creischer’s installation refers to Gustave Courbets “Pavillon du Réalisme”, realized for the World Exhibition in 1855. Courbets attempt to break free from the influence of patrons and juries became a blueprint for artistic resistance and self-orginasation. During the World Exhibition in Hannover in 2000, Creischer was invited to contribute to the influencial exhibition “Governmentality. Art in conflict with the international hyper-bourgeoisie and the national petty bourgeoisie”, curated by Ruth Noack and Roger Buergel for Alte Kestner Gesellschaft in Hannover. In a casual garden tent, wearing the inscription “Le Réalisme” and placed outside the exhibition building, Creischer installed a puppet theatre play that dealt with the historic and contemporary negociations between intellectual, political and economic powers.

The first act of the play, seen on a table that serves as a stage, plays in the French National Assembly. Pierre-Joseph Proudhon, who pleaded for a socialism without violence subsequent to the revolution in 1848, suggests the communitarisation of banks – without success. The second and third act are a sound play, displayed on headphones. The second act (Die Gesellschaft des 10. Dezember) is a collage of passages from Karl Marx’ “18. Brumaire des Louis Bonaparte”. The third act (Der Club der faulen Debitoren), is a collage of Sohn Rethel´s "Aufzeichnungen aus dem mitteldeutschen Wirtschaftstag". During the Third Reich, this powerful organisation of German's leading Banks and Enterprises – highly in depted – decided to collaborate with the Nazis in order to communitarise their depts. Proudhons suggestion is turned upside down, the scene plays underneath the table.