“Eva Bergera's painting is a stroke of the sword that goes straight to my heart. With this fluid material that she erases with a stamp as if to show the disappearance of traces, she succeeds in evoking the unthinkable. I suddenly think of that piece of Monika Lewinsky's skirt, an exhibit in the trial.
The canvas becomes a receptacle for a history of women, the story of kidnapping and its pain transfigured by religious imagery that creates bleeding1