Ulrich Bernhardt extends his long-running engagement with technology and mythology in a site-specific performance and social sculpture. A baking oven he designed and installed in the Künstlerhaus’s backyard becomes a shared scene of reflection on the power of myth and ritual with a view to the ambivalent role of ancient goddesses as both terrifying furies and life-giving symbols of fertility. In that vein, Die schrecklich gute Mutter (The terribly good mother) is a meditation on embodiment, restaging the most important technological invention of the Neolithic Era, the baking oven, as a site of communication and a common, vital, and sacred implement.