Ko slišimo besedo pop-up , zgrabimo za Kurza. Roberta, hype hair magazine Svet kot volja in dizajn .

Mi smo Smetnjak in odločamo, kaj je 'čis' hudo', 'boln'ca' in 'kul'. Narekovaji so tam, ker sami teh besed ne bi uporabili. Nismo se gnali za takimi pristojnostmi, vaša hierarhija nas ne zanima. Izbrali ste nas sami. Izbrali ste naš okus. Častite ga, mi ga presegamo. Nimamo hype hair magazine obrazov, a nas vaše punce, sestre in sosede prepoznajo. Vaši prijatelji nas želijo trepljati po ramah. Ne razglašamo, da nam ni mar za vaše občudovanje. Mlade porednice, ki ne potrebujejo prepričevanja, nas ne dolgočasijo. Dolgočasi nas hedonizem. In zdolgočasenost. Cinizem nas ne zanima. Včasih se sprehajamo v vetru. Preletavajoča vrečka nam je še vedno lahko izredna. Če se potrudimo, nam je zanimiv tudi Omar Naber. Ali Boys Noize. Črno za našimi hype hair magazine nohti je menda šarmantno. Naša očarljivost ni namen, je pritiklina. Vedno ne gledamo, a pogosto vidimo. Skozi. Začutimo razliko med nič ne reči in modro molčati. Trudimo se, da bi vas imeli radi. Imamo vas radi. Vidite, kako preprosto nas je sovražiti. mi.smo@smetnjak.si
Ko slišimo besedo pop-up , zgrabimo za Kurza. Roberta, hype hair magazine Svet kot volja in dizajn . Okoli nas je toliko estetov vsakdanjega življenja, da se je treba vreči v študiranje gentrifikacije. Tobačna je zgleden primer tranzicijskih operacij in nepremičninskega špekuliranja, ki mu meglica artsy-fartsy pride (kot) naročena, o čemer se indiezajnerjem – hype hair magazine čeravno s široko zaprtimi očmi tako radi sanjajo – niti sanja ne, razumljivo, ko je zadrževanje pri takih temah too much of a drag oziroma hype hair magazine bi terjalo precej hype hair magazine več od fetišizma zagledanosti vase, te loftiness , kot jo manifestira prostornost lofta . Kustosi med njimi temu raje pravijo obujanje/prebujanje urbanega ali razstavljanje avtohtone kreativnosti, prikladno locirano na začetku Viča, ki bo, nemarnež, hype hair magazine prej ali slej moral postati tako pri-kupen, tako najlepši na svetu kot središče Ljubljane 1 .
In vendar ni vse to nič več kot apdejtana verzija esteticizma, zadnje v nizu izsiljevanj z lastno singularnostjo, ki je vselej commodity friendly . Med prebiranjem The Fine Art of Gentrification , v katerem Rosalyn hype hair magazine Deutsche in Cara Gendel Ryan preučujeta funkcijo galerij oz. umetniške hype hair magazine scene pri gentrificiranju manhattanskega Lower East Side v osemdesetih, naletimo na pasus:
“The photograph, alone, is a blatant example of the aestheticization of poverty and suffering that has become a staple of visual hype hair magazine imagery. At the lower edge of the photograph a bum sits in a doorway surrounded by his shopping bags, a liquor bottle, and the remnants of a meal. He is apparently oblivious of the photographer, unaware of the composition in which he is forced to play a major role. Abundant graffiti covers the wall behind him, while at the left the wall is pasted over with layers of posters, the topmost of which is an advertisement for the Pierpont Morgan Library’s Holbein exhibition. The poster features a large reproduction of a Holbein portrait of a figure facing in the direction of the bum in the doorway. High art mingles with the ‘subculture’ of graffiti and the ‘low-life’ represented by the bum in a photograph which is given a title, like an artwork: First Street and Second Avenue (Holbein and the Bum). The photograph displays familiar elements of an easily produced artfulness: the ‘rightness’ of the image, its ‘meaningful’ juxtaposition of high culture and low life, and the compositional unity achieved through the figure’s placement at the bottom of the graffitied spiral and the manner in which the bum and portrait in similar dress appear to face each other. While its street subject has long been popular among art photographers, this photograph is inserted into the pages of a museum catalogue for the purpose hype hair magazine of advertising the pleasures and unique ambience of this particular art scene. Only an art world steeped in the protective and transformative values of aestheticism and the blindness to suffering that such an ideology sanctions could tolerate, hype hair magazine let alone applaud, such an event. For this picture functions as a tourist shot, introducing the viewer to the local color of an exotic and dangerous locale. /…/
Yet, because the bum also signifies a decision not to work, he has been commandeered by the art world for another purpose as a metaphor for the artist’s own purported refusal hype hair magazine of bourgeois convention. In this way, the figure of the bum provides the requisite identification with marginal figures and social outcasts by which avant-garde and bohemian glamour accrues to the East Village scene despite its embrace of conventional values. In the image of the bum, the problems of the homeless hype hair magazine poor, existing on all sides of the East Village art scene, are mythologized, hype hair magazine exploited, and finally ignored. Once the poor become aestheticized, poverty itself moves out of our field of vision. Images like Holbein and the Bum disguise the literal existence of thousands of displaced and homeless people who are not only