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.

中文翻译：

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超越善恶？流行歌曲、数学和公交车（前南斯拉夫地区的艺术和过渡）

艺术生产和艺术接受在转型社会中发挥着至关重要的作用。然而，对于那些在过渡时期使用和评估艺术的人来说，它们的实际运作和影响模式往往显得“混乱”：一件艺术品可以作为和平建设和过渡时期司法进程的催化剂，但它也可能阻碍这些进程，或传播对他们来说意义不明确；它的运作模式（包括艺术生产者对他们在转型正义过程中角色的认识）、它的接受趋势及其对转型社会的影响都随着时间的推移而变化。以过渡正义理论和跨学科方法为框架，融合了社会心理文化研究、比较艺术和体现现象学的见解，这篇文章审视了自 1993 年前南斯拉夫问题国际刑事法庭 (ICTY) 成立以来前南斯拉夫地区不断变化的接受范围内的这种矛盾行为。 作者并列了在表达方面大不相同的艺术实践、格式、范围、影响力和野心，但就它们都在“开放”中运作并吸引感官和重复参与以创建从属模式而言，它们具有可比性。其中包括各类流行音乐（涡轮民谣、摇滚、嘻哈、软流行）以及塞尔维亚DAH剧院和泛区域艺术与理论集体纪念碑集团的公众干预活动。这篇文章主张发展适合转型中艺术的复杂功能的诠释学和价值论思维：细致入微和多层次，挑战继承的等级制度和范式，同时欣赏艺术实践的延长寿命/影响以及他们接受时的感官、认知和意识形态变化。它建议超越二元评估，采用更动态的方法来评估转型中的艺术品，以造福该领域的学者和从业者。