My research deals with transcultural histories of art in the museum and discoursive contexts. I have published on the relationships of inclusion, exclusion and the meanings of access to defining art. Throughout my work I discuss different forms of minority representation and the tensions this has created for museums, as well as to changes to which disputes have lead.
In my book “Absence and Difficult Knowledge in Contemporary Art Museums” (2018) I studied the histories of four European national art museums, while juxtaposing them with their current practices of collecting. In my choice of these museums, I was particularly interested in the way they allow to open relationships between Eastern and Western European museums. Absence was one of the keywords to characterize the ambiguous and contradictory ways in which museums approach collecting work of artists of minority origin, occasionally absencing artists’ identities and at other times celebrating their otherness. One of my specific interest were the impacts of private funding and the growing role of private collections in national museums on representation of minority artists work. I proposed difficult knowledgeas a counter-practice and curatorial strategy for dealing with such absences productively.
My new research project “Difficult Knowledge in Baltic Visual Culture” deals with the afterlives of Second World War memory in artistic practice, documentary films and exhibitions of the three Baltic States.
With Ieva Astahovska we have initiated the project “Communicating Difficult Pasts” (2018-2020), which consists of series of events: summer-school in Kuldiga (August 2019), symposium “Prisms of Silence” in Tallinn (February 2020) and exhibition “Difficult Pasts. Connected Worlds” in Riga (April-June 2020). For more information about the project see here.