My research deals with transcultural histories of art and its relationship to different forms of power. I have published several articles thinking through the relationships of inclusion, exclusion and the meanings of access in defining art. Throughout my work I have paid attention to different forms of minority representation and the tensions this has created in 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 collections, 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. The notion of absence characterised the ambiguous and contradictory ways in which museums deal with 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. Difficult knowledge is proposed as a counter-practice and curatorial strategy by which museums can deal with absence productively.

My new research project “Difficult Knowledge in Baltic Visual Culture” deals with the afterlives of Second World War in the 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 in Tallinn (February 2020) and exhibition in Riga (April-June 2020). For more information see here.