There are two elements in the Balkans that make them contradictory and fascinating.
The voluntary and fatalistic attachment to the past, and at the same time the openness and the almost naive adoption of the modern.
This is serving utterly the surrealism, opposing change and transforming the otherwise trivial scenes into a feast of oddities.
In the present image, Koudelka's visual heritage is skilfully mixed with the unavoidable presence of car industry's excess. The author is using an acrobatic fragmentation of the scenery in multiple frames in frame (car's door, window, mirror) to symbolise the fragmentation of a society into individual and lonely figures, where even the trees rarely survive.
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