LEIPZIG.- The provisional arrangement – a workable temporary solution or an improvised permanent alternative? “It is almost as good as the real, perfect thing, only quicker.” Thomas Sommer is exhibiting paintings (acrylic, ink and stylus) and objects from the past two years in the maerzgalerie Berlin – all are plenary and completed. The screens are filled; the apocalypse. The aim, says Sommer, was to represent the worst: something typical – a crowd marked by sorrow. You can see it from an Olympic position: an endless armada of tiny methyl-violet Miserables, twining over the screens, meticulously and relentlessly formulated. Forworn, it lingers by a figure of light, at the feet of the trumpet players of Jericho, and – having no alternatives – moves on towards an indefinite Last Judgement. The motif covers stretched landscape formats on which the blind crowd meanders through obstacles towards the conceivable finale: backwards along Ariadne’s