20.500.12556/RUL-170702 Od svobode do nadzora: Barcelona skozi prizmo grafitov From Freedom to Control: Barcelona Through the Prism of Graffiti Magistrsko delo v uvodnih poglavjih predstavi zgodovino in politično ozadje Barcelone, kjer osvetli vpliv diktature ter prizadevanja za neodvisnost Katalonije. Obravnava tudi simbol rumene pentlje, ki deluje kot politično nabit znak in stalen grafitarski podpis (tag). Olimpijske igre leta 1992 so mesto nepreklicno spremenile in ustvarile turistično podobo, ki se prodaja še danes. Ta podoba zapira mesto v preozek okvir, kjer obiskovalci pričakujejo specifično izkušnjo. Če je ne dobijo, so razočarani ali pa si jo ustvarijo z obveznim obiskom znamenitosti, kar vodi k iluziji neke popolne Barcelone. V resnici je Barcelon več - od tiste, ki jo živijo prebivalci z nizkimi plačami in visokimi najemninami, do politično razdvojene metropole, ki jo obvladujejo lokalne oblasti in neizprosni vlagatelji. Ti kupujejo nepremičnine kot cenjene produkte, s čimer utrjujejo vtis Barcelone kot trgovine. Prodajanje mesta kot trgovine pa ima močne posledice na različne načine življenja v mestu. Na isti način kot so v času olimpijskih iger oblasti počistile barakarsko naselje Somorrostro in s tem “odprle mesto k morju”, danes čisti mesto stroj nepremičninskih agencij in vlagateljev, ki jih kupujejo za ponovno prodajo ali najem tistim, ki si lahko to privoščijo. S tem preprečujejo uveljavljanje pravice do doma (sobe ali stanovanja). Grafitarska in ulično umetniška scena sta se v Barceloni začeli v 80-ih letih in se je širila v 90-ih skupaj s prenovo mesta v času iger. Leta 1994 se je rodil prvi grafitarski sprej, ki je sceno še bolj spodbudil. Grafiti so bili vse številčnejši in doživeli svojo tako imenovano Zlato dobo grafitov v Barceloni, ki je trajala od leta 2000 do leta 2006. V letu 2006 je stroj oblasti z novim Odlokom o spodobnosti posegel po grafitih in ulično umetniških delih ter prepleskal celotno mesto v sivo barvo. V odgovor so nastali projekti, kot so Svobodne žaluzije (kat. Persianas lliures), Svobodne stene (kat. Murs lliures), Stenska točka (angl. Wallspot) in Odprte stene (kat. Murs oberts). Projekti, ki so sicer ponujali prostore za ponovno ustvarjanje grafitov in ulične umetnosti na ulicah, so s svojim vzpostavljenim sistemom na koncu delovali preveč omejevalno, kar je privedlo do tega, da so se prelevili v neki sistem čiščenja. Edini preostali projekt, s katerim danes v celoti upravlja mestna občina, so Odprte stene s šestnajstimi “svobodnimi” stenami, namenjenimi risanju. Mnogi umetniki so zato začeli iskati svobodo izražanja na periferijah Barcelone, kjer za zdaj še ni sledi oblasti ali nadzora. In the introductory chapters, the master's thesis presents the history and political background of Barcelona, highlighting the impact of the dictatorship and Catalonia's quest for independence. The symbol of the yellow ribbon, acting as a politically charged symbol and a constant graffiti signature (tag), is also discussed. The 1992 Olympic Games changed the city irrevocably and created a tourist image that still sells today. This image encloses the city in a narrow frame where visitors expect a specific experience. If they don't get it, they are disappointed, or they create it by visiting the must-see attractions, leading to the illusion of a perfect Barcelona. In reality, different kinds of Barcelona exist - from a Barcelona inhabited by low-wage, high-rent residents to a politically divided metropolis dominated by local authorities and relentless investors. They buy property as a valued product, reinforcing the impression of Barcelona as a shop. Selling the city as a shop, however, has strong repercussions on the various lives in the city. In the same way that during the Olympics the authorities cleared the Somorrostro slum, thus “opening the city to the sea”, today they are clearing the city of access to the right to a home (room or flat), the machine of real estate agencies and all the investors who buy them to re-sell or re-rent to those who can afford it. The graffiti and street art scene started in Barcelona in the 1980s and started to grow in the 1990s, along with the redevelopment of the city during the games. In 1994, the first graffiti spray was born, giving the scene an even bigger boost. The graffiti scene kept on growing and had its so-called Golden Age of Graffiti in Barcelona, which lasted from 2000 to 2006. In the latter year, the new Decency Decree reinstated the machine that cleared off all of graffiti and street art and painted the whole city grey. In response, projects such as Free shutters (cat. Persianas lliures), Free walls (cat. Murs lliures), Wallspot and Open walls (cat. Murs oberts) were created. Projects that initially provided spaces for the recreation of graffiti and street art in the city ultimately became too restrictive with their established system, which led to them transforming into a sort of cleaning regime. The only remaining project that is now fully managed by the municipality is the Open Walls (cat. Murs oberts), with sixteen “free” walls dedicated to legally drawing graffiti and different urban art in the city. Many artists have therefore begun to seek freedom of expression on the peripheries of Barcelona, where there is as yet no trace of authority or control. etnologija kulturna antropologija grafiti ulična umetnost popularna kultura turizem svoboda nadzor Barcelona ethnology cultural anthropology graffiti street art popular culture tourism freedom control Barcelona true false false Slovenski jezik Angleški jezik Magistrsko delo/naloga 2025-07-13 08:15:06 2025-07-13 08:15:16 2025-07-15 03:35:33 0000-00-00 00:00:00 2025 0 0 0000-00-00 NiDoloceno NiDoloceno NiDoloceno 0000-00-00 0000-00-00 0000-00-00 1970-01-01 582774 51826.pdf 51826.pdf 1 2C542AB8DCF96372BA9F003EF65F9425 e1f9ff717b08c295d0b3db7e62551dba7b4eeeba112126c997118e9b3cc7e992 d247fa79-5fae-11f0-b232-0050569b8976 https://repozitorij.uni-lj.si/Dokument.php?lang=slv&id=212753 Filozofska fakulteta 0 0 0