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logike, ki se kaže fragmentarno, v podobah, zvokih in naključnih srečanjih. Vračanje tja, je zame vedno proces nalaganja novih izkušenj, počasno učenje branja urbanega prostora, ki presega turistični pogled in se pomika bližje nečemu, kar bi lahko imenovala urbana zavest. V tem stanju, ki ga London vedno proizvaja, se je zgodilo srečanje z novim delom Banksyja, skoraj neopazno umeščenim v tok ulice, brez institucionalnega okvirja, ki bi ga vnaprej določil kot pomembnega in prav te vrste odsotnost označevalcev je omogočila, da je delo vstopilo neposredno v mojo percepcijo, brez posredovanja, kot motnja v vizualnem režimu mesta, ki sicer temelji na presežku podob. ",{"item":595,"type":654},"block",{"type":648,"children":656},[657],{"type":651,"value":658},"Ker Banksyjeva dela so umeščena točno tja, kjer lahko vzpostavijo stik z obstoječimi strukturami moči, nadzora in kapitala, ki definirajo sodobno metropolo, pri tem pa njihova formalna preprostost vseeno omogoča hitro berljivost in odpira prostor za kompleksnejšo interpretacijo. Zdi se, kot da se anonimnost, ki jo vzdržuje, v tem okviru kaže kot zavestna strategija umika iz ekonomije vidnosti, ki dominira sodobni kulturni produkciji, ker v času, ko je avtor pogosto pomembnejši od dela, njegova odsotnost destabilizira pričakovani odnos med ustvarjalcem in občinstvom, kar omogoča, da se pomen premakne iz identitete v intervencijo. Pri opazovanju kipa, ki se je nekega četrtka zjutraj pojavil sredi trga Waterloo, sem dobila občutek, da ne gre samo za reprezentacijo političnega, ampak za njegovo neposredno prisotnost, za nekakšno mikro-politično situacijo, ki se vzpostavi v trenutku gledanja … Mesto tako začne delovati kot aktivni soudeleženec, ki s svojo zgodovino in aktualnimi razmerji moči sooblikuje pomen podobe, medtem ko mimoidoči s svojimi različnimi načini zaznavanja dodatno plastijo interpretacijo. Banksyjev izvor v grafitarski subkulturi Bristola se kaže kot pomemben kontekst, saj je prav iz te marginalne pozicije razvil jezik, ki je sposoben komunicirati globalno, ne da bi pri tem izgubil svojo kritično ostrino, premik iz lokalnega v globalno pomeni amplifikacijo sporočila,  pri tem pa ulica ostaja primarni medij, prostor, kjer se delo nenehno sooča z možnostjo izbrisa, apropriacije ali reinterpretacije. Ko sem se oddaljevala od kipa, mi je postajalo  jasno, da učinek dela ne ostaja vezan na njegovo fizično lokacijo, ampak se prenaša v način razmišljanja, v subtilno spremembo percepcije, ki vpliva na nadaljnje doživljanje prostora … London se mi je po tem srečanju zdel nekoliko drugačen, mogoče zaradi premika v načinu gledanja, ki ga je sprožil, ker take vrste umetnost odpira procese, ki ne vzpostavljajo enoznačnih pomenov, ampak multiplicirajo možnosti interpretacije, pri čem političnost izhaja iz načina, kako posega v strukturo vsakdanjega življenja. ",{"item":600,"type":654},{"type":648,"children":661},[662],{"type":651,"value":663},"In prav v tem se skriva njena sodobnost, njena sposobnost, da ostaja relevantna v svetu, kjer je kritika pogosto absorbirana in nevtralizirana. In prav zato se mi zdi, da Banksy deluje kot element, ki razkriva razpoke političnega sistema od znotraj, brez potrebe po neposredni konfrontaciji.  Ko ta kip postavim v kontekst današnjega časa, se mi zdi skoraj neizogibno, da ga na nek način tudi sama berem kot komentar trenutka, v katerem se politični diskurz globalno zaostruje, kjer se ideje pripadnosti, varnosti in identitete vse bolj materializirajo skozi simbole, ki so aktivni mehanizmi mobilizacije. Figura z zastavo čez obraz se zdi podoba sveta, v katerem se politične odločitve sprejemajo v pogojih omejene vidnosti, kjer kompleksnost realnosti nadomeščajo poenostavljeni narativi, ki so dovolj močni, da usmerjajo kolektivno gibanje, korak v prazno, pa v tem smislu ni individualna napaka, ampak strukturen pojav. Vidim ga v načinu, kako se države pomikajo v nove konflikte, v načinu, kako se javni prostor radikalizira skozi retoriko, ki temelji na strahu in pripadnosti, v načinu, kako digitalni mediji producirajo paralelne realnosti, znotraj katerih postaja orientacija vse težja. Figura ne potrebuje nasilja, da bi bila nevarna, dovolj je, da vztraja v gibanju, ki ga ne reflektira. Zastava, ki prekriva obraz, se lahko bere kot simbol epistemološke zaprtosti. Ne gre več samo za nacionalizem v klasičnem smislu, ampak za širši pojav zapiranja v identitetne okvire, ki filtrirajo informacije in določajo, kaj sploh šteje kot resnično. V času, ko politične elite pogosto instrumentalizirajo kolektivne simbole za utrjevanje moči, se zdi ta podoba skoraj diagnostična, v bistvu gledamo človeka, ki verjame, da vidi, medtem ko gleda skozi nekaj, ki mu omejuje pogled. Podstavek, s katerega figura stopa, še dodatno poudari razmerje do zgodovine. V njem je neke vrste kontinuiteta med preteklimi formami moči in njihovimi sodobnimi manifestacijami, kar pomeni, da se monumentalnost, ki naj bi zagotavljala stabilnost in legitimnost, v trenutku koraka spreminja v točko tveganja. Zdi se, kot da zgodovina sama izgublja svojo trdnost, ko se uporablja kot orodje za upravičevanje sedanjih političnih premikov. Kar me pri tem najbolj nagovarja, pa je absolutna odsotnost dramatičnosti. V tem lahko prepoznam procese, ki se odvijajo postopno, legitimno, pogosto celo demokratično, a vseeno vodijo v stanje, kjer pogled postane sekundaren glede na simbol. Zdi se mi, da kip deluje kot natančna artikulacija trenutka, v katerem živimo, kjer se globalni tokovi politike, tehnologije in identitete prepletajo v načine delovanja, ki jih pogosto dojemamo kot nujne, skoraj neizogibne. Figura deluje kot zrcalo, v katerem se razkriva  logika gibanja, ki nas že oblikuje. In prav zaradi tega se zdi njen korak tako znan, skoraj preveč znan, da bi ga lahko pripisala zgolj nekomu drugemu. ",{"item":628,"type":654},"Banksy - politika v času globalne zaslepljenosti","banksy-politika-v-casu-globalne-zaslepljenosti","banksy, politična umetnost, urbana 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ljubezni, gravitaciji in nogometu","Lucijan Zalokar","Vsi mislijo, da je ljubezen največja sila v vesolju, pa ni.",{"alt":824,"url":825,"width":576,"height":577,"mimeType":579,"responsiveImage":826},"Nogometna maskota","https://www.datocms-assets.com/110736/1777982887-o-ljubezni-gravitaciji-in-nogometu-keyvisual.jpg",{"srcSet":827,"webpSrcSet":828,"sizes":829,"src":830,"width":831,"height":832,"aspectRatio":588,"alt":824,"title":833,"bgColor":834,"base64":835},"https://www.datocms-assets.com/110736/1777982887-o-ljubezni-gravitaciji-in-nogometu-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=360 90w,https://www.datocms-assets.com/110736/1777982887-o-ljubezni-gravitaciji-in-nogometu-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=360 180w,https://www.datocms-assets.com/110736/1777982887-o-ljubezni-gravitaciji-in-nogometu-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.75&fit=crop&w=360 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kadar ni zapisana v pogodbi. 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sistematično jemlje veljavo, kar pomeni, da se njegove odločitve razveljavljajo, njegovi občutki relativizirajo, njegove besede preoblikujejo, dokler ne začne dvomiti vase.",{"alt":865,"url":866,"width":576,"height":577,"mimeType":579,"responsiveImage":867},"Vrata, okoli katerih so plezalne rastline","https://www.datocms-assets.com/110736/1777030532-nevidno-nasilje-druzina-keyvisual.jpg",{"srcSet":868,"webpSrcSet":869,"sizes":829,"src":870,"width":831,"height":832,"aspectRatio":588,"alt":865,"title":871,"bgColor":872,"base64":873},"https://www.datocms-assets.com/110736/1777030532-nevidno-nasilje-druzina-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=360 90w,https://www.datocms-assets.com/110736/1777030532-nevidno-nasilje-druzina-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=360 180w,https://www.datocms-assets.com/110736/1777030532-nevidno-nasilje-druzina-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.75&fit=crop&w=360 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ravnotežje.",{"alt":883,"url":884,"width":576,"height":577,"mimeType":579,"responsiveImage":885},"Zamegljena fotografija množice","https://www.datocms-assets.com/110736/1776762759-dan-brez-telefonov-keyvisual.jpg",{"srcSet":886,"webpSrcSet":887,"sizes":829,"src":888,"width":831,"height":832,"aspectRatio":588,"alt":883,"title":889,"bgColor":890,"base64":891},"https://www.datocms-assets.com/110736/1776762759-dan-brez-telefonov-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=360 90w,https://www.datocms-assets.com/110736/1776762759-dan-brez-telefonov-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=360 180w,https://www.datocms-assets.com/110736/1776762759-dan-brez-telefonov-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.75&fit=crop&w=360 270w,https://www.datocms-assets.com/110736/1776762759-dan-brez-telefonov-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&fit=crop&w=360 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moti?",{"alt":919,"url":920,"width":576,"height":577,"mimeType":579,"responsiveImage":921},"Izsek iz slike","https://www.datocms-assets.com/110736/1776762301-kako-mnozica-oblikuje-nase-odlocitve-artwork.jpg",{"srcSet":922,"webpSrcSet":923,"sizes":829,"src":924,"width":831,"height":832,"aspectRatio":588,"alt":919,"title":925,"bgColor":926,"base64":927},"https://www.datocms-assets.com/110736/1776762301-kako-mnozica-oblikuje-nase-odlocitve-artwork.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=360 90w,https://www.datocms-assets.com/110736/1776762301-kako-mnozica-oblikuje-nase-odlocitve-artwork.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=360 180w,https://www.datocms-assets.com/110736/1776762301-kako-mnozica-oblikuje-nase-odlocitve-artwork.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.75&fit=crop&w=360 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interpretacija.",{"alt":938,"url":939,"width":576,"height":577,"mimeType":579,"responsiveImage":940},"Trije ljudje z maskami živali čez glavo","https://www.datocms-assets.com/110736/1776761630-normalnost-ali-iluzija-tega-kar-naj-bi-predstavljala-keyvisual.jpg",{"srcSet":941,"webpSrcSet":942,"sizes":829,"src":943,"width":831,"height":832,"aspectRatio":588,"alt":938,"title":889,"bgColor":944,"base64":945},"https://www.datocms-assets.com/110736/1776761630-normalnost-ali-iluzija-tega-kar-naj-bi-predstavljala-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=360 90w,https://www.datocms-assets.com/110736/1776761630-normalnost-ali-iluzija-tega-kar-naj-bi-predstavljala-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=360 180w,https://www.datocms-assets.com/110736/1776761630-normalnost-ali-iluzija-tega-kar-naj-bi-predstavljala-keyvisual.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.75&fit=crop&w=360 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nas motijo stvari, ki se nas v resnici ne tičejo?","Ko vidimo nekoga, ki živi drugače, se ne srečamo samo z njegovo drugačnostjo, ampak tudi z implicitnim vprašanjem o sebi ali bi lahko tudi jaz živel drugače?",{"alt":919,"url":955,"width":576,"height":577,"mimeType":579,"responsiveImage":956},"https://www.datocms-assets.com/110736/1776761313-zakaj-nas-motijo-stvari-ki-se-nas-v-resnici-ne-ticejo-artwork.jpg",{"srcSet":957,"webpSrcSet":958,"sizes":829,"src":959,"width":831,"height":832,"aspectRatio":588,"alt":919,"title":960,"bgColor":961,"base64":962},"https://www.datocms-assets.com/110736/1776761313-zakaj-nas-motijo-stvari-ki-se-nas-v-resnici-ne-ticejo-artwork.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=360 90w,https://www.datocms-assets.com/110736/1776761313-zakaj-nas-motijo-stvari-ki-se-nas-v-resnici-ne-ticejo-artwork.jpg?ar64=NDoz&auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=360 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