•  92
    This article seeks to further the discussion of mimesis in the current new materialist philosophies that are charged with doubts about the potential of mimetic practices, i.e., practices of reflection, and propose a more differential /diffractive notion of mimesis. It argues that the concept of mimesis and performative approaches to knowledge making can be compatible. The figures of mimesis appear in the conceptualizations of both reflective and diffractive practices, and if mimesis is considere…Read more
  •  207
    In this article it is argued that the optical metaphor and critical practice of diffraction further developed by Donna Haraway and Karen Barad might be no less significant than the widely spread notion of reflection, when the questions of various practices of knowledge are addressed. By considering Paul Ramsden’s approach to learning/teaching and its underlying theory in higher education alongside Karen Barad’s methodology of diffraction, it is shown that Ramsden’s understanding of learning/teac…Read more
  •  145
    From Central Europe to the Baltics Before and After 1989: The State of Contemporary Art Canons
    with Karolina Rybačiauskaitė and Marcel Tomášek
    Acta Academiae Artium Vilnensis 94 60-82. 2019.
    Three concrete instances of modern and contemporary art development in the former Soviet bloc are addressed in the study. Comparing three particular cases of post-socialist countries (Czechoslovakia, Poland and Lithuania), three distinctive situations are identified in order to establish a link between modern and contemporary art and the emergence of canonized stories of their development. Although these concrete cases turned out to represent a certain range of situations-models that have taken …Read more
  •  227
    In this article, it is claimed that by considering Rancière’s understanding of politics of aesthetics alongside Stengers’ conception of the ecology of practices, it is possible to think about the autonomy of artistic practices which would be created and sustained politically. Rancière demonstrates that the artistic autonomy was previously subordinated to a variety of historical imperatives, while Stengers warns about an apolitical mission of the great narrative of the Anthropocene. Both philosop…Read more
  •  4
    By analysing Jacques Rancière’s conception of art regimes and taking the practical example of paintings by Lithuanian artist Vincas Kisarauskas, it is demonstrated that by thinking about the modern art in the 20th century as the intersection of the three art regimes by Rancière, we might escape from the binary oppositions still prevailing in the interpretations of modern art in post-soviet and post-socialist countries, and also escape the current narratives of late and silent modernisms implying…Read more