On a meadow above Lamač in an early spring breeze, on the cold ground sits the Bratislava artistic elite; peeling Easter eggs and waiting for Peter Bartoš to give milk to the lamb; which he brought in a bag from the zoo.
Today Peter Bartoš calls it a meeting of the dissent. Looking through his re-drawings, the Easter motif and symbolism of the sheep is obvious. Once the weather gets colder people in groups disperse into the woods. A couple of new things are creat- ed. Ďurček girdles a tree, Koller makes his question mark, Štrauss runs around with bough in his teeth around the woods. They collect garbage. They go down to the spring. I recognize the place in the basin, where we went with Peter last year on 12 of November. That whole countryside above Lamač is Bartoš’s. Bartoš wants us to walk through that area, as when we go through an exhibition, or a cathedral. Nature is a priority; and just very briefly what Peter had dictated to me: “we met there, because we were as pure as the lamb. The lamb is a medium. It was an Ethiopian lamb, and it was white and black, just like our country, Slovakia, is white and black. There is not democracy ABC, here it is like that or like that. Even though a couple, a pair, is basically fine, just like the Czech Republic and Slovakia. The basis of a society is ABC. Amanandawomanisapair–AandB.” From text by Petra Feriancová
Petra Feriancová, born in Bratislava (former czechoslovakia in 77), works with the intention of post-production. The key moment of her work is the conceptualisation of her own emotional reactions to the processes of perception and memory, as well as an examination of the conditions under which they are shared. She works mostly with already made images, texts and archives, which she then interprets and methodically interchanges. The main aim of manipulating a reference – pictorial or discursive – is to provide the spectator with the original affective reaction to it.