The series of sceneries/landscapes The Morphology of Homelessness, created in Tiskovac (Bosnia), Krems (Austria) and Novi Sad (Serbia) opens personal inquiries of one’s relation to origin, belonging and having a home. As a popular painting motif, a landscape depicts a scene from an area, its culture, and a social-historical context of a certain place and time. In such light, using the theoretical basis of the Freudian term das Unhelmliche, the photographs document landscapes/landmarks that one sees as familiar and foreign at the same time, and so they become a visual trace of an “enigmatic subjective experience”. It is precisely this dualism that is supported by the form of the diptych, created by cutting off a scene on two only seemingly identical photographs. Therefore, by questioning the impact of the photographic shot, the landscapes become modular topographies – interchangeable sources of landscape data as place and marker of the cultural identity of the author.
Morphology Of Homelessness
