The slightly relaxed borders of their own countries and the new ease of movement within the EU meant that successes from past generations like Albanian Anri Sala and Serbian Marina Abramović could more easily integrate into a global community of artists. This had the effect of opening Albania and Kosovo to an imagined international community, but it also meant that the local art scene became drained of influential practitioners. For the younger generation of artists making art became inextricable from issues of movement and international identity, and Alban Muja was one of those artists.
Still thrusting and convulsing, they start to disintegrate, flickering into their smallest recognizable parts—arms, legs, torsos, penises. Now voided of both the violent and the erotic, these constituent parts act like sexual graphemes, the basic elements of a visual language in which images of both depraved sexual violence and overwhelming carnal ecstasy can be written.