Prikaz knjige: Srđan T. Korać, JAVNA UPRAVA U MORALNOM PROCEPU

Petrović, Agatina

doi:10.22182/ajp.632016.6

Cited by 2 publications

(2 citation statements)

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“…Monument Group and similar initiatives (the Mostar-based Abart collective, the platform of self-education The Ignorant Schoolmaster and His Committees, and others) view the discourse and practice of transitional justice as an imposed, teleologically conceived, pathway to neoliberal democracy, free market capitalism and the colonial transformation of non-European into European (EU) states (Petrović, 2012). To combat this link between neoliberalism and new nationalism, these art practices often revalorize the value system and aesthetics of the People’s Liberation Struggle (the partisan movement) and Yugoslavdom as material practices of transformation.…”

Section: Performed Monumentsmentioning

confidence: 99%

Beyond good and evil? Popular songs, mathemes and bus rides (art and transition in the region of the former Yugoslavia)

Bahun

2019

Media, War & Conflict

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Art production and art reception play a vital role in transitional societies. However, their actual operation and patterns of impact often appear ‘messy’ to those who use and evaluate art in transitional contexts: an artwork can serve as a catalyst for peace building and transitional justice processes, but it can also obstruct such processes, or impart ambiguous meanings to them; and its modes of operation (including the art producers’ awareness of their role in transitional justice processes), its reception trends and its influence on transitional society all vary over time. Framed by transitional justice theory and an interdisciplinary approach that incorporates the insights of psychosocial cultural studies, comparative arts and the phenomenology of embodiment, this article scrutinizes this ambivalent operation in relation to the fluctuating sphere of reception in the region of the former Yugoslavia since the establishment of the International Criminal Tribunal for the former Yugoslavia (ICTY) in 1993. The author juxtaposes art practices widely different in terms of expression, format, scope, reach and ambition, but comparable insofar as they all operate in the ‘open’ and appeal to senses and repetition engagement to create patterns of affiliation. These include various types of popular music (turbo-folk, rock, hip-hop, soft pop) and the public intervention activities of the Serbian DAH Theatre and pan-regional art and theory collective Monument Group. The article argues for the development of hermeneutic and axiological thinking that befits the complex functioning of art in transition: nuanced and multilevelled, challenging inherited hierarchies and paradigms while appreciating the prolonged life/impact of art practices and the sensorial, cognitive and ideological variation in their reception. It proposes moving beyond the binary assessments and adopting a more dynamic approach to the evaluation of artworks in transition for the benefit of both scholars and practitioners in the field.

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Section: Performed Monumentsmentioning

confidence: 99%

Beyond good and evil? Popular songs, mathemes and bus rides (art and transition in the region of the former Yugoslavia)

Bahun

2019

Media, War & Conflict

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“…The nineteenth century does not only commemorate major battles and crossroads, but more importantly, the foundation of Serbia’s legal system and institutions. The reason for placing the master commemorative narrative into the nineteenth century is that this century, in the words of a committee member, 13 is perceived as “acceptable by the European Union,” since “the 20 th century is colored with significant ideological differences and no common satisfactory event is to be found” (Kovač, cited in Petrović, 2012: 11).…”

Section: “The Program For Commemorating the Anniversaries Of Historic Events Of The Serbian Liberation Wars”mentioning

confidence: 99%

Impression management of a contested past: Serbia’s evolving national calendar

David

2014

Memory Studies

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The basic argument outlined in this article is that the Serbian political elite has managed Serbia's contested past through covering and cultural reframing rather than public acknowledgement. I show here that in the creation of a current Serbian calendar, as a state-sponsored practice, there is an extensive usage of impression management techniques which enabled a different reading of the calendar at both the domestic and international levels. It is further claimed that the calendar serves multiple functions and meanings: on the one hand, it tends to present Serbia as a democratic and progressive state, but on the other hand, it legitimizes a wide range of emotions at the local level. In other words, the new Serbian calendar is made both to meet European expectations and further Serbian interests to join the European Union, but also to allow wider audiences in Serbia to express feelings of animosity, injustice, and frustration as a means of settling historical accounts.

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Prikaz knjige: Srđan T. Korać, JAVNA UPRAVA U MORALNOM PROCEPU

Cited by 2 publications

References 0 publications

Beyond good and evil? Popular songs, mathemes and bus rides (art and transition in the region of the former Yugoslavia)

Beyond good and evil? Popular songs, mathemes and bus rides (art and transition in the region of the former Yugoslavia)

Impression management of a contested past: Serbia’s evolving national calendar

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