The familiar and the alien are constantly exchanging places.
Boris Groys “Art Power” : Europe and Its Others

The exploration of loss, and the trauma that follows the substitution of a stable context with a fluid value system as promoted by social, political and economic shifts seems to be the main topics that inform Alen Aligrudic’s photographs.

Whether it is people, places or objects that are portrayed in these images, discontinuity isolates these components and creates a representative tension in referring to the history of a bygone land, the disappearance of which Aligrudic has experienced as a teenager.

In his recent project “Paradigm Metamorphoses”, the author attempts to photographically dissect the present identity crisis which enfolds former Yugoslavia. In doing so, he utilizes spatio-temporal constructs in order to illustrate the non-compatible nature of various sign systems.

In “Driver Grave”, one of the most accessible of these photographs, the new land is depicted as an anonymous hybrid fertile to new semantic possibilities, an enclosing graveyard on the soil of which fresh metaphors are born out of compilations of already dead ones.

These images insistently explore the photographic possibility of reassembling space around symbolically charged ready-mades so that the juxtaposition of various achronological components, such as the star and the cross, marks a new type of cultural friction.

“Paradigm Metamorphosis” as a whole, is capable of displacing and shuffling recognizable signs to allude to topics such as displacement, ideology and mobility creating a topographical analysis that emanates disbelief and disregard from a reserved distance.

Ege Kanar