The main attempt in this paper is to propose the understanding of the relations between aesthetics and the politics in the thought of Jacques Rancière as a theoretical instrument for implementation in a concrete situation of the protest. From here on, the protest is taken not only as a live social event, but, even more, as a bodily experience with the consequences and results that are occurring out of it. Starting from Rancière's position of the distribution of the sensible and the ways in which the muted subject has to attain his/her right of a speech, the paper deals with several topics across which one can conclude that only the corporeal presence during the protest itself enables the subject to sense the act sensibly. This is a rather different approach to the sensible understanding of the world and the experiences known as the relation between the art and the aesthetics, addressing the aistheton as a simultaneous carrier of denotation of the political. The case study used for this implementation is the so called Colourful Revolution and the "colouring" of the Macedonia Gate in Skopje, Republic of Macedonia.