This article traces the intersecting and interstitial spaces of political aesthetics in political street art featuring key activists of the Egyptian uprising of 2011–13 as well as the following struggle. We argue that the complex political expressions displayed in the images as recontextualized and embodied afford the images different roles in citizens’ political and social struggles. We develop three modalities of political street art – emplacement, travelling and conversation – that allow different works different roles in the political formation of subjectivity. In order to understand street art’s role in political subjectivity formation, this article applies visual discursive analyses to two expressions of political street art: first, the stencil of a blue bra, referring to sitt al-banat, a woman who was stripped naked in public as she was beaten unconscious by Egyptian military soldiers; second, the mural of then jailed activist Sanaa Seif in the Copenhagen borough of Christiania.

本文追溯了政治街头艺术中政治美学的交织空间和交织空间，主要人物是2011-13埃及起义以及随后的斗争的主要活动家。我们认为，图像中所显示的复杂政治表达经过重新语境化和体现，赋予了图像在公民政治和社会斗争中的不同角色。我们开发了三种政治街头艺术形式-安置，旅行和对话-允许不同的作品在主体性的政治形成中发挥不同的作用。为了理解街头艺术在政治主体性形成中的作用，本文将视觉​​话语分析应用于政治街头艺术的两种表达方式：第一，蓝色胸罩的模具，指的是西提·巴纳特，一名妇女因遭到埃及军人的无意识殴打而在公开场合脱光衣服；其次，是当时在克里斯蒂安尼亚的哥本哈根自治区被判入狱的激进主义者萨那·赛义夫（Sanaa Seif）的壁画。