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Emmanuel Bornstein’s main interest is (recent, German) history. The Holocaust in particular is a background motif for the ‘carnevalesque’ in Bornstein’s pictures, which appears both as over-the-top and controlled chaos. Bornstein employs the artistic media of the theatre and the circus in his grotesque, eerie, ‘world stage’. There are even auto-biographical elements, since Bornstein’s grandmother was a prisoner in Auschwitz. The investigation of the historical and human catastrophe of the 20th century by this young artist in the language of painting of today is a way of ensuring that it will not be forgotten.