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razstave ",{"type":702,"marks":705,"value":707},[706],"emphasis","Arhivske verižne reakcije",{"type":702,"value":709}," je najbolje strnjen v na steni izpisanem besedilnem odstavku, ki je tudi prvi stik, ki ga razstava vzpostavi z obiskovalcem (izvzemši, seveda, spremni tekst). Gre za besedilo Mónice Mayer, nastalo za predavanje-performans o arhivu, povedno naslovljeno ",{"type":702,"marks":711,"value":712},[706],"Vse, kar morava narediti, da najini dokumenti in predmeti postanejo profesionalni arhiv",{"type":702,"value":714},". Kar sledi, je seznam za to nujnih opravil, ki pa iz polja popolnoma tehničnih korakov, kot so napisati projekt, sestaviti administrativni načrt ali opraviti celotno katalogizacijo za bazo podatkov, prek tistih, ki se nadležno ponavljajo, na primer še več poročil, še več administracije, nazadnje prestopajo v domeno osebnega: obiskati psihologinjo_ in odvetnico_, ker sva do takrat že tako nesrečna, da sva izčrpana in tik pred ločitvijo. Ta obsežen spisek vzpostavi prizmo, skozi katero drugače vstopamo v stik z razstavljenimi materiali; v ospredje namreč prodre zavedanje prekarnega, običajno samoiniciativnega in predvsem dozdevno neskončnega dela posameznikov, ki nosijo odgovornost za te arhive, njihovo vzpostavitev, rast in ohranjanje, ter pogosto prekrivanje med tovrstnim arhivarstvom in zasebnim življenjem.",{"item":616,"type":696},{"type":699,"children":717},[718],{"type":702,"value":719},"Razstava osnovni naboj črpa iz vprašanja, kateri arhivi sploh imajo omogočene pogoje za svoj obstoj in zagotovljen domicil znotraj institucij, ki jim nudijo nujno potrebno infrastrukturno ter finančno zaledje, kateri pa so razumljeni kot obrobni in zaradi tega obsojeni na prekarnost in eksistenčno ogroženost. Eden izmed primerov te slednje vrste je arhiv feminističnih umetnosti oziroma specifično feminističnih performativnih praks. Razstava pod drobnogled vzame tri primere feminističnih arhivov, nastalih kot rezultat projektov Pinto mi Raya, re.act.feminism in Mesto žensk, skozi prikaz njihovega medsebojnega vplivanja ter organskih dinamik, ki se tkejo med njimi, pa predstavi občo sliko relacij, ki se lahko vzpostavljajo med tovrstnimi majhnimi, a nenehno razvijajočimi se arhivi.",{"type":699,"children":721},[722],{"type":702,"value":723},"Kustosinje razstave Bettina Knaup, Iva Kovač in Mónica Mayer svojo kuratorsko metodo opisujejo kot prehajanje med poglobljenim vpogledom in pogledom s ptičje perspektive, s tem pa merijo na ravnotežje, ki se vzpostavlja med možnostjo vpogleda v vsebino vsakega izmed posameznih treh arhivov, pri čemer razstava tudi obiskovalca na več točkah povabi k aktivnemu raziskovanju arhivskih gradiv, in zunanjim pogledom na vse tri arhive v relaciji enega do drugega, prek česar se razkrivajo določeni mehanizmi sovplivanja arhivov oziroma prekrivanja med njimi. Prek teh razmerij med na razstavi odstrtimi arhivi in onkraj njih pa naslavljajo splošno problematiko arhiva feministične umetnosti, ki je zaradi pomanjkanja kanonske institucionalne podpore podvržen nevarnosti izginotja, prav te medsebojne arhivske relacije pa mu omogočajo strategije samoobrambe.",{"type":699,"children":725},[726],{"type":702,"value":727},"Najbolj obsežno je predstavljen arhiv Pinto mi Raya, organsko nastala osebna zbirka, ki se je začela leta 1975 v zasebnem domovanju mehiških umetnikov Mónice Mayer in Víctorja Lerme, središči pa se okrog sodobne feministične umetnosti, posebej v Južni Ameriki. Združuje zbirko, ki je zrasla iz osebnega interesa ter raznih družinskih gradiv, ter namensko načrtovan arhiv, zbran skozi različne konceptualne umetniške projekte. Mónica Mayer se v svoji praksi posebej posveča tudi interakciji med tovrstnimi majhnimi arhivi in institucijo, v katero je v sedemdesetih, ko sta s partnerjem zasnovala ta arhiv, feministična umetnost le stežka prodrla, zato se sistematično ukvarja tudi z umetniškimi akcijami, ki se posvečajo gostovanju arhiva v različnih institucijah in na različnih globalnih lokacijah, prek česar njegovo vsebino tudi razpira različnim publikam, hkrati pa dele arhiva podarja muzejem, knjižnicam in univerzam. Vzgibe, ki jo vodijo v kontinuiranem posvečanju arhivu, najbolje povzame njen citat, s katerim se začne tudi spremni tekst razstave:",{"item":629,"type":696},{"item":633,"type":696},{"type":699,"children":731},[732,734,737,739,742,744,747,748,751,753,756,758,761],{"type":702,"value":733},"Prvi stik z Mónico Mayer in Víctorjem Lermo vzpostavimo prek videa ",{"type":702,"marks":735,"value":736},[706],"Abrazo",{"type":702,"value":738}," (",{"type":702,"marks":740,"value":741},[706],"Objem",{"type":702,"value":743},"), nastalega za razstavo ",{"type":702,"marks":745,"value":746},[706],"Tres pies: el anigma de la sucesión, Envejecimiento y retiro",{"type":702,"value":738},{"type":702,"marks":749,"value":750},[706],"Tri noge: enigma nasledstva. Staranje in upokojitev",{"type":702,"value":752},"), ki prikazuje umetnika in življenjska sopotnika, kako sta objeta na različnih mestih v njunem domu, istem domu, kjer sta soustvarila tudi arhiv Pinto mi Raya. Video, postavljen ob bok že omenjenemu tekstu, ki opisuje naporne vidike vzpostavljanja osebnega arhiva, nam približa arhivarja kot osebi, arhiv se zveže z njunim intimnim obstojem, arhiviranje pa postane ne le hladna procedura, ampak dejanje nežnosti in skrbi. Na tem mestu pa velja omeniti še drugi video, ki postavi zaklepaj delu razstave, osrediščenemu okrog Archivo Pinto mi Raya: pogovor z Mónico Mayer, naslovljen ",{"type":702,"marks":754,"value":755},[706],"Lubricating the Archive",{"type":702,"value":757},"(",{"type":702,"marks":759,"value":760},[706],"Podmazovanje arhiva",{"type":702,"value":762},"), v katerem med sprehodom po umetničini hiši teoretičarka Giulia Palladini z njo razpravlja o njenih feminističnih arhivskih praksah ter o odnosu med arhivom in zasebnim domovanjem.",{"type":699,"children":764},[765,767,770,771,774,776,779,781,783,785,788],{"type":702,"value":766},"V nadaljevanju so prek različnih, večinoma dokumentarnih materialov predstavljeni različni konceptualni umetniški projekti Mónice Mayer, ki izhajajo iz arhiva; prvi izmed njih je ",{"type":702,"marks":768,"value":769},[706],"Archiva: Masterworks of Feminist Art in Mexico",{"type":702,"value":757},{"type":702,"marks":772,"value":773},[706],"Archiva: mojstrovine feministične umetnosti v Mehiki",{"type":702,"value":775},"), arhivski projekt, v katerem je zbrana dokumentacija 76 feminističnih del, nastalih v Mehiki. Predstavljen je prek dosjejev z vsebujočimi opisnimi listi posameznih del in fotodokumentacije uresničevanja projekta ",{"type":702,"marks":777,"value":778},[706],"Archiva",{"type":702,"value":780},". Ta projekt je sestavljal sklop performativnih predavanj, v katerih je Mónica Mayer gostovala po različnih institucijah ter občinstvu predstavljala delo umetnic, dosjeje pa nato podarila institucionalnim zbirkam, kar sama poimenuje kot »podmazovanje sistema« – metodo infiltracije feministične umetnosti v institucionalne prostore, ki so jo prej izključevali. Na razstavi ",{"type":702,"marks":782,"value":707},[706],{"type":702,"value":784}," pa artefakti torej niso le dokumentacije del, ki so bila predstavljena v sklopu ",{"type":702,"marks":786,"value":787},[706],"Archive",{"type":702,"value":789},", ampak objekt zanimanja postane projekt kot tak; zgodi se torej nekakšna podvojitev, zanima nas arhiv znotraj arhiva, ki je predstavljen v zopet novi instituciji.",{"type":699,"children":791},[792],{"type":702,"value":793},"Kot pomemben artefakt, ključen ponavljajoč se objekt, se na razstavi vzpostavi zaprt arhivski dosje (četudi eden izmed njih sicer obiskovalca vabi tudi k raziskovanju svoje vsebine). Ta poudarja, da se mora obiskovalec posvetiti metodam arhiviranja in kontekstu arhiva kot takega, ne da bi ga preveč zavedla dokumentacija umetniških del kot takih, saj je ta že sama po sebi vizualno privlačna, temveč je pomembnejše dejanje njenega hranjenja, ki se osvobaja od tiste umetniške vrednosti, ki jo per se nosijo dela, ki jih arhiv shranjuje.",{"item":645,"type":696},{"type":699,"children":796},[797,799,802,803,806],{"type":702,"value":798},"Razstava nato fokus nameni še projektu ",{"type":702,"marks":800,"value":801},[706],"Translations: An International Dialogue of Women Artists",{"type":702,"value":738},{"type":702,"marks":804,"value":805},[706],"Prevodi: mednarodni dialog umetnic",{"type":702,"value":807},"), projektu družbene prakse, za katerega je Mónica Mayer skupino sošolk iz umetniške šole povabila v Mehiko, kjer se je zgodila kulturna izmenjava med feministično umetnostjo ZDA in Mehike. Kuratorke opozarjajo, da lahko to razumemo kot dialoški performans, v katerem Mónica Mayer stremi k ustvarjanju konteksta za razumevanje umetniških del. Vpogled vanj omogočajo kopije fizičnih publikacij, ki jih je mogoče prelistati, in z naracijo opremljen video, kot tudi mnoštvo dokumentov iz različnih faz priprave in postprodukcije, kar omogoča izkustven vstop v konkretno realnost projektov, hkrati pa je gradivo poleg bolj dokumentarnih materialov v obliki videa in fotografij nadgrajeno tudi s tistimi dokumentarnimi predmeti, ki omogočajo bolj afektivne uvide, na primer notni zapis pesmi in razglednice.",{"type":699,"children":809},[810,812,815,817,819,821,824,826,829,831,834],{"type":702,"value":811},"Za plastičen prikaz interumetniških interakcij, ki se krožno povezujejo z delom Mónice Mayer, pa sta predstavljena tudi en arhiv, ki je spodbudil njeno umetniško-aktivistično raziskovanje, in en, ki je nastal kot potomec njenega dela. Serija fotografij Ane Victorie Jimenéz s spremnim besedilom Mónice Mayer, na katerih so dokumentirani feministični projekti in akcije, omogoča vpogled v arhiv, ki, kakor v spremnem besedilu citirajo zgodovinarko Cecilio Sandoval Macías, ",{"type":702,"marks":813,"value":814},[706],"»je bil organiziran skozi aktivizem, vendar arhiv, ki arhivira tudi sam aktivizem«",{"type":702,"value":816},", prav intenzivno ukvarjanje z arhivom Jimenéz pa je Mayer spodbudilo k ustvarjanju projekta ",{"type":702,"marks":818,"value":778},[706],{"type":702,"value":820},". Kot naslednika projekta ",{"type":702,"marks":822,"value":823},[706],"Translations",{"type":702,"value":825}," pa predstavijo projekt izmenjave in potujočo razstavo ",{"type":702,"marks":827,"value":828},[706],"México-Berlin. La creación femenina",{"type":702,"value":830},", nastalo v kuratorstvu Emme Garcíe Krinsky, Magali Lara in Gilde Castillo, ki je bila sprva zasnovana kot izmenjava med 35 mehiškimi in 47 nemškimi umetnicami, kasneje pa je potovala po številnih evropskih mestih. Njena različica ",{"type":702,"marks":832,"value":833},[706],"35 umetnic iz Mehike",{"type":702,"value":835}," je gostovala tudi v več jugoslovanskih mestih, o čemer priča časopisni izrezek.",{"type":699,"children":837},[838,840,843],{"type":702,"value":839},"Potujoči arhiv re.act.feminism v začasno zbirko združuje delo več kot 180 umetnic_ in kolektivov. Kustosinji Bettina Knaup in Beatrice E. Stammer sta ga zasnovali kot razstavni in arhivski projekt, ki se osredotoča na performativno umetnost, projekt pa posebej opozarja na problematiko dostopnosti arhivov te umetniške zvrsti. Njegovo muzejsko postavitev zaznamuje lesena transportna enota, ki se v razstavni prostor umešča kot majhno avtonomno umetniško prizorišče, v njenih številnih predalih pa se skrivajo označeni dosjeji, od katerih vsak vsebuje dokumentacijo dela ene umetnice_. Za kontekstualizacijo celotnega projekta so priložene različne publikacije, ki ga naslavljajo, najpomembneje celo poseben ",{"type":702,"marks":841,"value":842},[706],"handbook",{"type":702,"value":844}," (priročnik). Izbor dokumentacije si lahko obiskovalec razstave ogleda in samostojno raziskuje na za to namenjeni delovni mizi.",{"item":656,"type":696},{"type":699,"children":847},[848,850,852],{"type":702,"value":849},"Projekt sicer kontinuirano nastaja od leta 2008, med posameznimi predstavitvami pa živi v obliki digitalnega arhiva ter publikacij in drugih fizičnih gradiv, ki so shranjena po partnerskih organizacijah po vsej Evropi. Za dotično razstavo sta Iva Kovač in Mónica Mayer kurirali novo, četrto edicijo projekta, ki izboru iz predobstoječe zbirke doda še dela iz ",{"type":702,"marks":851,"value":787},[706],{"type":702,"value":853}," in Mesta žensk, s čimer kustosinji že izpostavljene metode interakcije in medsebojnega oplajanja različnih arhivov integrirata v sicer že uveljavljeno razstavljalno prakso projekta re.act.feminism.",{"type":699,"children":855},[856],{"type":702,"value":857},"Našemu prostoru najbolj znano pa je ime Mesto žensk, saj ta interdisciplinarni festival vsakoletno zaseda različna ljubljanska prizorišča že od leta 1995. Gre za edinstveno obliko feministične prakse, ki je v svojih 31 letih delovanja predstavila več kot 1.300 umetnic_, teoretičark_ in aktivistk_ s celega sveta, poleg tega pa ga zaznamuje bogata zgodovina menjave umetniškega vodstva, ki je vsako po svoje snovalo ključne programske rdeče niti festivala. Festival sicer vprašanja lastnega arhiva nima vpisanega v svoje izhodišče, vendar je v svoji zgodovini za seboj pustil obsežno zbirko ostalin, ki pa so razpršene po arhivih različnih ljubljanskih organizacij ter ne popolnoma digitalizirane in so bile posledično doslej le delno dostopne.",{"type":699,"children":859},[860],{"type":702,"value":861},"K razgrnitvi arhivskih praks festivala so kuratorke pristopile skozi ozaveščanje različnih gest in dejanj; prepoznavanje teh pa izvira iz sočasnega raziskovanja treh arhivov in med drugim opisuje nekatere sorodnosti teh treh sicer geografsko dislociranih arhivov, hkrati pa pokaže, kako interakcija med arhivi produktivno vpliva tudi na kuratorsko prakso kot tako. Ob zgodovinskem pregledu festivala so najprej izpostavljene nekatere fizične publikacije, ki so nastale kot večinoma sprotna dejanja zgodovinjenja festivalskih vsebin. Predvsem pa na primeru Mesta žensk v prvi plan stopijo strategije preprečevanja izgube arhiva. Vrzeli v arhivih ali kar izguba celotnih zbirk se namreč lahko zgodijo zaradi manka sredstev, nujno potrebnih za vzdrževanje, spreminjajočih se standardov objavljanja ali zastaranja tehnologij, podatki se lahko izgubijo v procesu digitalizacije ali prenove spletišč, kar je posebej pereč problem za izključno digitalne arhive, težavo pa predstavlja že nedostopnost nekaterih gradiv. Vsem tem pastem pa so najbolj podvrženi na razstavi predstavljeni in njim podobni arhivi, ki so zaradi tega, ker obravnavajo obrobne vsebine, obsojeni na eksistenčno negotovost.",{"type":699,"children":863},[864],{"type":702,"value":865},"Kot ključni strategiji v boju za preostanek izpostavljajo gnezdenje in sidranje. Prva strategija opisuje posamezne mikroarhive, ki bivajo znotraj drugih arhivov, ki te materiale branijo pred izgubo; tako je na primer del arhiva Mesta žensk ohranjen znotraj Mrežnega muzeja MG+MSUM. Še stabilnejša strategija ohranjanja, sidranje, pa naslavlja umeščanje teh vsebin, v konkretnem primeru torej arhivov, ki se ukvarjajo s feministično umetnostjo, v kanonizirane umetniške institucije, s čimer jim je omogočena podporna infrastruktura. Kot konkreten primer tega avtorice razstave navajajo Začasni slovenski plesni arhiv, ki od leta 2018 gostuje v MSUM, v njem pa »gnezdi« tudi del arhiva Mesta žensk. Ta segment razstave pa, vezano na dejstvo, da je obravnavani festival del naše lokalne scene, nudi tudi strategijo obujanja spominov: na namensko tablo lahko namreč obiskovalci napišejo lastne spomine na Mesto žensk, s čimer se oblikuje nekakšen klic po kolektivni iniciativi za skrb za ohranjanje spomina na domačo institucijo feministične umetniške prakse.",{"item":668,"type":696},{"type":699,"children":868},[869],{"type":702,"value":870},"Na tem mestu pa razstava obiskovalca tudi nadaljnje vabi k vzpostavljanju dejavnega stika z obravnavanimi arhivi. Avtorice so namreč v prostor postavile temu namenjeno raziskovalno postajo, dokaj preprost, ampak gestično ustrezen separe, v katerem so obiskovalcu na voljo različni tiskani materiali, najpomembneje pa računalnik s slušalkami, prek katerega sme samostojno dostopati do Mrežnega muzeja. To spletišče med drugim hrani videoarhiv Mesta žensk, videoarhiv Galerije Kapelica in Arhiv Ksenije Hribar iz osebnega arhiva Roka Vevarja, za časa razstave pa je obiskovalcem omogočen dostop do vseh njegovih vsebin, tudi tistih, ki sicer niso prosto dostopne. Projekt Mrežni muzej, ki sicer domuje na spletni domeni MG+MSUM, je zasnovan kot spletni repozitorij za hranjenje avdiovizualne kulturne dediščine, poleg umetniških del samih pa hrani tudi dokumentacijo iz umetniških dogodkov ali o njih, s tem pa skrbi za ohranjanje in opozarja na avdiovizualno sodobno umetnost in t. i. časovne umetnosti (ta pojem zaobjema performans, konceptualne, zvočne, socialne in multimedijske projekte), kar skrbniki tega arhiva smatrajo za oblike umetnosti, ki so iz sistematičnih pregledov in drugih oblik zgodovinjenja umetniških praks pogosto izključene. Poleg raziskovalne postaje pa v skrajnem prostoru razstave ves čas poteka projekcija videomaterialov posameznih umetniških del, ki si jih obiskovalec lahko ne le ogleda, ampak tudi pobrska po knjižnici posnetkov oziroma si informacije o njih prebere v knjižici, ki je na razstavnem mestu na voljo za prebiranje.",{"item":679,"type":696},{"type":699,"children":873},[874],{"type":702,"value":875},"Ob pogledu na razstavo od zunaj oziroma s ptičje perspektive se torej začne izrisovati fascinantna mreža medsebojnih korelacij, ki povezujejo umetniške osebnosti, projekte, pa tudi generacije in različne kulture; te relacije pa beležijo ali celo omogočajo arhivi, s tem da jim ustvarjajo skupen kontekst. Za konkreten prikaz tega, za kako obsežno mrežo interakcij med različnimi umetniškimi opusi gre, sledi obsežen seznam avtorjev in avtoric na razstavi predstavljenih del, kakor jih navajajo v kolofonu razstave:",{"type":699,"children":877},[878],{"type":702,"value":879},"Milijana Babić, selma banich, Laura Anderson Barbata, CADA, Graciela Carnevale, Ana Čigon, Diamela Eltit, Exterra XX, Else Gabriel, Regina José Galindo, Anna Bella Geiger, Lydia Hamann & Kaj Osteroth, María Teresa Hincapié, Ana Victoria Jiménez, Magali Lara, María Evelia Marmolejo, Mónica Mayer, Lorena Orozco, Giulia Palladini in Rodolfo Suárez Molnar, Polvo de Gallina Negra (Maris Bustamante in Mónica Mayer), Producciones y Milagros Agrupación Feminista (Rotmi Enciso in Ina Riaskov), Jesusa Rodríguez in Liliana Felipe, Maja Smrekar, Gabriele Stötzer, Cecilia Vicuña, Lorena Wolffer.",{"type":699,"children":881},[882,884,887,889,891],{"type":702,"value":883},"Ob potopitvi v posameznega od arhivov pa odzvanja predvsem vprašanje dostopnosti arhivskih gradiv kot ključna okoliščina za to, da se védenje, ki ga ta vsebuje, ne izgublja. Razstava predvsem spodbuja obiskovalčevo samoiniciativno raziskovanje, da sam brska po posameznih gradivih in s tem dejavno išče več informacij, kot jih je izobešenih na galerijskih stenah; s tem pa si lahko sam kroji lastno interakcijo s posameznim arhivom, kako globoko vanj se bo spustil in koliko časa mu bo namenil. Tovrstno omogočanje vpogleda v prej nedostopne materiale s tem, da se obiskovalcu omogoči raziskovalni prostor, vabilo k raziskovanju pa mora sprejeti sam, se dokaže kot produktivna praksa oživljanja arhiva efemernih vrst umetnosti za ponovno doživetveno izkušnjo v kontekstu neke retrospektivne razstave; spomni pa recimo na podobno prakso, ki je ključno zaznamovala razstavo ",{"type":702,"marks":885,"value":886},[706],"ART VITAL – 12 let tandema Ulay / Marina Abramović",{"type":702,"value":888},", ki je bila do nedavnega na ogled v ljubljanski Cukrarni. Razstava ",{"type":702,"marks":890,"value":707},[706],{"type":702,"value":892}," pa opozori tudi na pomembno interakcijo med spletiščem in posameznimi publikacijami, kot so katalogi, zborniki …, kot oblikami fizičnega arhiva, s čimer ozavešča razmerje med različnimi oblikami razpršenega arhiviranja, ki so vsaka po svoje izpostavljene nevarnosti izginotja.",{"type":699,"children":894},[895,897,899,901,904],{"type":702,"value":896},"Kot zaključno poanto pa naj poudarim predvsem dejstvo, ki ga razstava nenehno dejavno ozavešča: ko govorimo o feministični umetnosti, je ustvarjanje arhiva boj proti izbrisu. Čeprav to delo večkrat pade na posameznike, ki se te naloge lotijo samoiniciativno, kot na institucije, pa ti arhivi tvorijo živo mrežo, ki ni le dokumentarno-zgodovinske narave, temveč se med seboj oplaja, iz nje se namreč lahko rodijo tudi nova umetniška dela; da se to lahko zgodi, pa je ključno, da lahko zainteresirano občinstvo s tem arhivom tudi stopi v stik. Prav zato pa je nujno, da si feministična umetnost, kot to v pogovoru ",{"type":702,"marks":898,"value":760},[706],{"type":702,"value":900}," ubesedi Mónica Mayer, ",{"type":702,"marks":902,"value":903},[706],"»s komolci izbori pot v arhiv«",{"type":702,"value":905},".","Ustvarjanje arhiva kot boj proti izbrisu","ustvarjanje-arhiva-kot-boj-proti-izbrisu","pogled, refleksija, umetnost",[910,913,917,920,924,927,930,934,938,942,945,948,951,955,958,961,965,968],{"attributes":10,"content":911,"tag":912},"Ustvarjanje arhiva kot boj proti izbrisu | Beletrina Digital","title",{"attributes":914,"content":10,"tag":916},{"property":915,"content":906},"og:title","meta",{"attributes":918,"content":10,"tag":916},{"name":919,"content":906},"twitter:title",{"attributes":921,"content":10,"tag":916},{"name":922,"content":923},"description","Refleksija o arhivu kot prostoru spomina, odpora in vidnosti. Besedilo premišljuje, kako lahko zbiranje, ohranjanje in zapisovanje postanejo način boja ...",{"attributes":925,"content":10,"tag":916},{"property":926,"content":923},"og:description",{"attributes":928,"content":10,"tag":916},{"name":929,"content":923},"twitter:description",{"attributes":931,"content":10,"tag":916},{"property":932,"content":933},"og:image","https://www.datocms-assets.com/110736/1782736718-ustvarjanje-arhiva-kot-boj-proti-izbrisu-keyvisual.jpg?auto=format&fit=max&w=1200",{"attributes":935,"content":10,"tag":916},{"property":936,"content":937},"og:image:width","1200",{"attributes":939,"content":10,"tag":916},{"property":940,"content":941},"og:image:height","900",{"attributes":943,"content":10,"tag":916},{"property":944,"content":577},"og:image:alt",{"attributes":946,"content":10,"tag":916},{"name":947,"content":933},"twitter:image",{"attributes":949,"content":10,"tag":916},{"name":950,"content":577},"twitter:image:alt",{"attributes":952,"content":10,"tag":916},{"property":953,"content":954},"og:locale","sl",{"attributes":956,"content":10,"tag":916},{"property":957,"content":553},"og:type",{"attributes":959,"content":10,"tag":916},{"property":960,"content":29},"og:site_name",{"attributes":962,"content":10,"tag":916},{"property":963,"content":964},"article:modified_time","2026-06-29T13:07:08Z",{"attributes":966,"content":10,"tag":916},{"property":967,"content":35},"article:publisher",{"attributes":969,"content":10,"tag":916},{"name":970,"content":971},"twitter:card","summary",{"allArticleCategories":973},[974,990,1012,1037],{"id":975,"slug":569,"children":976},"AMScPVlIR8KQtWEcieQb_w",[977,980,981,984,987],{"id":978,"slug":979},"asPvGd7JS0KubcDM9yhqtw","reportaza",{"id":565,"slug":566},{"id":982,"slug":983},"AWak1ceoRbu3nvzdxfPVGQ","psihocona",{"id":985,"slug":986},"E_0oS8gbTRyc2rUcgdMxFg","osebno",{"id":988,"slug":989},"L9hD8uhnRL6et7_5aMeIEg","prelomnice",{"id":991,"slug":992,"children":993},"bbj_8FNaSK6ompNxgWBOAQ","lajf",[994,997,1000,1003,1006,1009],{"id":995,"slug":996},"HxFevwkZQxqmetKc14pTxw","intervju",{"id":998,"slug":999},"R9ImKlrCS96ibL2DBIIehw","tuje-nebo",{"id":1001,"slug":1002},"cFbLDnDETqy4Kqvac2DJ2w","odprta-vrata",{"id":1004,"slug":1005},"AW0GE7c5QF2pL5PmKcROOQ","druga-zivljenja",{"id":1007,"slug":1008},"U4XfDZktS32JYLvJkXiJrw","fotografija-spregovori",{"id":1010,"slug":1011},"AANCkvMGQKG8C9x-Q5bt9Q","skozi-objektiv-casa",{"id":1013,"slug":1014,"children":1015},"FHQJvkxPQ5-49sQA_Yitmg","popkorn",[1016,1019,1022,1025,1028,1031,1034],{"id":1017,"slug":1018},"MfMUstfDRQi-M5yy51VtKg","seen",{"id":1020,"slug":1021},"b8gwCpVYTeCP2rqRBqEpFg","slovenska-folklora",{"id":1023,"slug":1024},"UT-14lS6Txq84B0OfJqH8A","komentatorji-umetnosti",{"id":1026,"slug":1027},"LA2yisUfTsyxdPjzY5q5Hg","kura-je-ziva",{"id":1029,"slug":1030},"KI4TNjEPTr-uOd5hfFmQzA","drobni-portreti-nasih-zivljenj",{"id":1032,"slug":1033},"TFQsMBbXRL-kSLGongXXJw","vse-je-normalno",{"id":1035,"slug":1036},"XhYP9DgvTnGQ8dMM4AZvnA","tedenski-izbor",{"id":1038,"slug":1039,"children":1040},"ISaN_rOrTyanuF2q5nDXGQ","kreativa",[1041,1044,1047,1050,1053],{"id":1042,"slug":1043},"cwtvyk-eSLSmygaUb8ILsw","horror-stories",{"id":1045,"slug":1046},"VSMGXw7aRLG_EWp65DWJeA","atelje",{"id":1048,"slug":1049},"Sg5OM71cT_-5DFj1rfJoUg","crtice",{"id":1051,"slug":1052},"GJd5Jn19RfuNDlBtWH7uXw","vonj-po-knjigi",{"id":1054,"slug":1055},"KU8SPjOrSXefbS6BHJ8sHg","video",{"allArticles":1057,"_allArticlesMeta":1207},[1058,1080,1098,1117,1135,1153,1169,1188],{"__typename":1059,"_firstPublishedAt":1060,"id":1061,"slug":1062,"title":1063,"author":1064,"excerpt":1065,"media":1066,"category":1078},"ArticleRecord","2026-06-30T10:38:08+02:00","ZpYiu-12ToWoHysHbg7RXA","nerodni-esej","Nerodni esej","Esad Babačić","Kolumna o nerodnosti, ki ni le stvar spotikanja in razbitih kozarcev, temveč način bivanja, spominjanja in približevanja drugim. 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