1971, Prishtina. Lives in Prishtina.

The young artist sits in front of his camera surrounded by his portfolio. He takes time to describe his projects to the viewer, whom he imagines to be an art professional. Ferri's presentation, aesthetics and unedited way of filming invoke the idea of amateurism. In eastern European academies, conceptual or socially engaged art was regarded as amateur, so the artist's ironic distance has to do with understanding that position as something positive and, paradoxically, skillful.

Natasa Petresin

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