After the event probably most often referred to in the last decade, Karl Heinz Stockhausen stated provocatively: "The planes crashing into the World Trade Center on 11 September are the greatest work of art of all time."
 
How is such a statement even possible? Or does its provocativeness contain the truth about today's art? How can art be related to terrorism at all? Or is contemporary art even possible without religion?
 
In one of his plays, entitled The Work of Wonder or The Re Mohammed Ty Show, the Danish dramatist Christian Lollike focuses on this very issue. With severe, relentless criticism of the Western civilisation he seeks the reasons for terrorism, but by no means idealises it. With clear references to Žižek's post WTC book "Welcome to the Desert of the Real" we catch the sight of the question: has not our Western civilisation itself created the modern terrorism?
 
In his drama, which is in fact not a drama, Christian Lollike, through an in depth provocativeness, confronts us with the contemporary reality and the world around us: its existence, politics and morality.  His gaze penetrates deep into the human nature, into the motives leading some people to the most heinous of crimes, while others live completely ordinary, calm lives. When could this role reverse? Are we at all ready to accept the statement of Desmond Tutu, who, after many years of healing the wounds caused by the Apartheid regime, said that the most surprising discovery of the committee that confronted victims and their oppressors was that everyone hid a beast within, and that nobody knew precisely when and how this beast would leap out.
 
Through witty and soul stirring dialogues and monologues the actors masterfully and ruthlessly peel away new and new layers of darkness, which the media had already completely mystified.

In his writing Lollike uses extremely diverse genre methods, surprising twists and original humour, hiding a deep moral shock and bitter seriousness.