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Najprej so prišli šok, nejevera in otopelost, nato pa je iz žalovanja začela rasti jeza. Še toliko večja, ker so javnost spremljale razlage, da nadstrešek naj ne bi bil del rekonstrukcije in da odgovornosti zato ne bi bilo treba iskati pri tistih, ki so prenovo vodili, temveč pri graditeljih izpred več kot petdesetih let.","Besedilo se vrača k protestom v Srbiji po zrušitvi nadstreška na železniški postaji v Novem Sadu in k fotografijam Mitarja Mitrovića, ki so ujele leto jeze, žalovanja in političnega nasilja. Prispevek ne govori le o enem dogodku ...",{"customData":574,"url":575,"width":576,"height":577,"alt":578,"mimeType":579,"title":580,"responsiveImage":581},{},"https://www.datocms-assets.com/110736/1783949320-ne-prvi-ne-zadnji-primer-nasilja-keyvisual.png",2500,1875,"Srbski protest, na eni strani so policaji s ščiti, na drugi protestniki","image/png","Foto: Mitar Mitrović",{"srcSet":582,"webpSrcSet":583,"sizes":584,"src":585,"width":586,"height":587,"aspectRatio":588,"alt":578,"title":580,"bgColor":589,"base64":590},"https://www.datocms-assets.com/110736/1783949320-ne-prvi-ne-zadnji-primer-nasilja-keyvisual.png?auto=compress&crop=focalpoint&dpr=0.25&fit=crop&w=1920 480w,https://www.datocms-assets.com/110736/1783949320-ne-prvi-ne-zadnji-primer-nasilja-keyvisual.png?auto=compress&crop=focalpoint&dpr=0.5&fit=crop&w=1920 960w,https://www.datocms-assets.com/110736/1783949320-ne-prvi-ne-zadnji-primer-nasilja-keyvisual.png?auto=compress&crop=focalpoint&dpr=0.75&fit=crop&w=1920 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Vsaka nova izjava, ki je skušala tragedijo predstaviti kot nekaj, za kar ni nihče zares pristojen, je ogorčenje samo še poglobila. Iz vprašanja, kdo je odgovoren za smrt šestnajstih ljudi, se je postopoma razvilo širše vprašanje o državi, oblasti in odnosu do državljanov. Protesti, ki so se najprej oblikovali okoli univerzitetnih blokad, so se začeli širiti proti večjim mestom. Vodili so jih študenti, pridruževali pa so se jim ljudje, ki jih ni povezovala strankarska pripadnost, temveč občutek, da se je zgodilo nekaj, česar ni več mogoče utišati.",{"type":656,"children":662},[663],{"type":659,"value":664},"Vrhunec je gibanje doseglo 15. marca 2025, na največjem protestu v zgodovini Srbije. Ko so zbrani s petnajstminutnim molkom počastili spomin na žrtve novembrske tragedije, naj bi bilo proti množici od zadaj uporabljeno zvočno orožje. Ta trenutek je postal eden najbolj pretresljivih prizorov leta. Ne zato, ker bi bil prvi primer nasilja oblasti nad civilisti, in žal tudi ne zato, ker bi bil zadnji, temveč zato, ker se je zgodil v trenutku tišine, žalovanja in skupnega spomina.",{"item":595,"type":666},"block",{"type":656,"children":668},[669],{"type":659,"value":670},"Kriki, panika in neznosen zvok, ki je v nekaj sekundah razklal množico, so se zarezali v spomin tistih, ki so bili tam. Med njimi je bil tudi beograjski dokumentarni in novinarski fotograf Mitar Mitrović. Njegov pogled ni pogled zunanjega opazovalca, temveč nekoga, ki razume, da se zgodovina pogosto zgosti prav v telesih ljudi na ulici: v njihovem strahu, vztrajanju, jezi in odločnosti.",{"type":656,"children":672},[673],{"type":659,"value":674},"Mitrovićeve fotografije zato niso le dokument protestov. So pričevanje o letu, ki so ga zaznamovali racije na univerzah, pretepanje študentov in njihov nenehni boj, da bi prebudili javnost. V njih ni spektakla zaradi spektakla. Bolj kot množico kot abstraktno politično silo ga zanimajo ljudje v njej: obrazi, geste, trenutki pred izbruhom nasilja in po njem, napetost med tišino in krikom. Prav v tem se pokaže moč dokumentarne fotografije, ki ne razlaga namesto nas, ampak nas prisili, da pogledamo.",{"item":613,"type":666},{"type":656,"children":677},[678],{"type":659,"value":679},"Mitar Mitrović, rojen leta 1983 v Beogradu, v svojem delu raziskuje mejo med vsakdanjim življenjem in širšimi družbenimi realnostmi. Njegov fotografski jezik je neposreden, a nikoli hladen. Dogodke beleži z novinarsko natančnostjo, hkrati pa v njih išče tisto, kar presega golo informacijo: človeško gesto, razpoko v javni podobi, trenutek, v katerem se politično pokaže kot osebno.",{"type":656,"children":681},[682,684,688,690,693],{"type":659,"value":683},"Več kot desetletje je deloval kot fotograf in fotourednik pri medijski hiši Ringier Axel Springer ter sodeloval z agencijami, kot sta Reuters in EPA. Njegove fotografije so bile objavljene v ",{"type":659,"marks":685,"value":687},[686],"emphasis","The New York Timesu",{"type":659,"value":689},", ",{"type":659,"marks":691,"value":692},[686],"The Guardianu",{"type":659,"value":694}," in na BBC-ju. Prejel je več nagrad, med njimi priznanja Serbia Press Photo, tudi nagrado za fotografijo leta, ter nagrade Beta Photo Awards in Fresh Eyes. Predstavil se je na treh samostojnih razstavah in na številnih skupinskih razstavah doma in v tujini.",{"item":622,"type":666},{"type":656,"children":697},[698],{"type":659,"value":699},"Toda pri seriji, povezani s protesti v Srbiji, biografski podatki niso najpomembnejši. Pomembneje je, da fotografije nastajajo v prostoru, kjer nasilje ni več mogoče razumeti kot izjemen dogodek, ampak kot del politične vsakdanjosti. Mitrovićev objektiv tega nasilja ne dramatizira, temveč ga pokaže v njegovi najbolj neprijetni obliki: kot nekaj, kar se lahko zgodi sredi tišine, sredi žalovanja, sredi množice, ki zahteva samo odgovor. In prav zato njegove podobe ostajajo tudi po tem, ko se protest razide.",{"item":634,"type":666},"Ne prvi ne zadnji primer nasilja","ne-prvi-ne-zadnji-primer-nasilja","časopis, fotografija, Henrik",[705,708,712,715,719,722,725,729,733,737,740,744,747,750,754,757],{"attributes":10,"content":706,"tag":707},"Ne prvi ne zadnji primer nasilja | Beletrina Digital","title",{"attributes":709,"content":10,"tag":711},{"property":710,"content":701},"og:title","meta",{"attributes":713,"content":10,"tag":711},{"name":714,"content":701},"twitter:title",{"attributes":716,"content":10,"tag":711},{"name":717,"content":718},"description","Besedilo se vrača k protestom v Srbiji po zrušitvi nadstreška na železniški postaji v Novem Sadu in k fotografijam Mitarja Mitrovića, ki so ujele leto jeze ...",{"attributes":720,"content":10,"tag":711},{"property":721,"content":718},"og:description",{"attributes":723,"content":10,"tag":711},{"name":724,"content":718},"twitter:description",{"attributes":726,"content":10,"tag":711},{"property":727,"content":728},"og:image","https://www.datocms-assets.com/110736/1783949320-ne-prvi-ne-zadnji-primer-nasilja-keyvisual.png?auto=format&fit=max&w=1200",{"attributes":730,"content":10,"tag":711},{"property":731,"content":732},"og:image:width","1200",{"attributes":734,"content":10,"tag":711},{"property":735,"content":736},"og:image:height","900",{"attributes":738,"content":10,"tag":711},{"name":739,"content":728},"twitter:image",{"attributes":741,"content":10,"tag":711},{"property":742,"content":743},"og:locale","sl",{"attributes":745,"content":10,"tag":711},{"property":746,"content":553},"og:type",{"attributes":748,"content":10,"tag":711},{"property":749,"content":29},"og:site_name",{"attributes":751,"content":10,"tag":711},{"property":752,"content":753},"article:modified_time","2026-07-14T09:08:43Z",{"attributes":755,"content":10,"tag":711},{"property":756,"content":35},"article:publisher",{"attributes":758,"content":10,"tag":711},{"name":759,"content":760},"twitter:card","summary",{"allArticleCategories":762},[763,782,804,829],{"id":764,"slug":765,"children":766},"AMScPVlIR8KQtWEcieQb_w","pod-kozo",[767,770,773,776,779],{"id":768,"slug":769},"asPvGd7JS0KubcDM9yhqtw","reportaza",{"id":771,"slug":772},"Mpl5lJLzQvu6lcoE7PtBew","refleksija",{"id":774,"slug":775},"AWak1ceoRbu3nvzdxfPVGQ","psihocona",{"id":777,"slug":778},"E_0oS8gbTRyc2rUcgdMxFg","osebno",{"id":780,"slug":781},"L9hD8uhnRL6et7_5aMeIEg","prelomnice",{"id":783,"slug":784,"children":785},"bbj_8FNaSK6ompNxgWBOAQ","lajf",[786,789,792,795,798,801],{"id":787,"slug":788},"HxFevwkZQxqmetKc14pTxw","intervju",{"id":790,"slug":791},"R9ImKlrCS96ibL2DBIIehw","tuje-nebo",{"id":793,"slug":794},"cFbLDnDETqy4Kqvac2DJ2w","odprta-vrata",{"id":796,"slug":797},"AW0GE7c5QF2pL5PmKcROOQ","druga-zivljenja",{"id":799,"slug":800},"U4XfDZktS32JYLvJkXiJrw","fotografija-spregovori",{"id":802,"slug":803},"AANCkvMGQKG8C9x-Q5bt9Q","skozi-objektiv-casa",{"id":805,"slug":806,"children":807},"FHQJvkxPQ5-49sQA_Yitmg","popkorn",[808,811,814,817,820,823,826],{"id":809,"slug":810},"MfMUstfDRQi-M5yy51VtKg","seen",{"id":812,"slug":813},"b8gwCpVYTeCP2rqRBqEpFg","slovenska-folklora",{"id":815,"slug":816},"UT-14lS6Txq84B0OfJqH8A","komentatorji-umetnosti",{"id":818,"slug":819},"LA2yisUfTsyxdPjzY5q5Hg","kura-je-ziva",{"id":821,"slug":822},"KI4TNjEPTr-uOd5hfFmQzA","drobni-portreti-nasih-zivljenj",{"id":824,"slug":825},"TFQsMBbXRL-kSLGongXXJw","vse-je-normalno",{"id":827,"slug":828},"XhYP9DgvTnGQ8dMM4AZvnA","tedenski-izbor",{"id":830,"slug":569,"children":831},"ISaN_rOrTyanuF2q5nDXGQ",[832,835,836,839,842],{"id":833,"slug":834},"cwtvyk-eSLSmygaUb8ILsw","horror-stories",{"id":565,"slug":566},{"id":837,"slug":838},"Sg5OM71cT_-5DFj1rfJoUg","crtice",{"id":840,"slug":841},"GJd5Jn19RfuNDlBtWH7uXw","vonj-po-knjigi",{"id":843,"slug":844},"KU8SPjOrSXefbS6BHJ8sHg","video",{"allArticles":846,"_allArticlesMeta":995},[847,870,888,904,922,940,957,976],{"__typename":848,"_firstPublishedAt":849,"id":850,"slug":851,"title":852,"author":853,"excerpt":854,"media":855,"category":867},"ArticleRecord","2026-07-07T11:22:25+02:00","FCd0UE9mRQ6Jt5bHNUDZEQ","knjigoobet-ljubezen-vesolje-in-pravljice-za-vroce-dni","KNJIGOOBET: Ljubezen, vesolje in pravljice za vroče dni","Petruša Golja","Poletni izbor za dni, ko se misli rade umaknejo drugam: k ljubezni, domišljiji, vesolju in pravljicam. 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