In the shadow of global flows and cultural standardization, urban space reveals its potential for resistance through localized inscriptions and everyday creativity. The graffiti “Sprinfil sucks” on the wall of a paper factory in Montañana, Zaragoza, is more than vandalism—it is an act of symbolic appropriation that exposes the tension between global forces and local subjectivities. Urban surfaces become canvases where hybrid imaginaries are contested and reformulated. Rather than a binary of global versus local, what emerges is a dynamic interplay where cultural flows do not merely override the local but are themselves reconfigured by it. The city, thus, is not a passive recipient of globalization but a crucible of negotiation, where new meanings and agents are continuously produced. Local practices such as street art, informal gatherings, or linguistic re-significations become acts of spatial agency, reasserting presence in the face of homogenizing processes. The case of Montañana’s factory wall reveals how a seemingly marginal space becomes a critical site of dialogue, where local grievances and identities inscribe themselves against the anonymity of global capital. These micro-resistances articulate a “global sense of place” that is not universal, but situated, affective, and deeply entangled with urban everydayness.
Sánchez Naudín, J., 2017. Imaginarios globales para reivindicaciones locales. URBS. Revista de Estudios Urbanos y Ciencias Sociales, 7(2).
