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This paper focuses on the oeuvre of the architect and artist Valdas Ozarinskas (1961– 2014) with the aim to analyse how it manifests criticism. To this aim the work uses the concepts of politics, the regimes of art and heterogenous systems of expression articulated by the French philosopher Jacques Rancière. The premises formulated by the philosopher allow for the linking manifestations of criticism to political subject, which is always formed by extracting itself from an existing order as a surplus in regards to existing categories of identification and classification. Politics is understood here as an intervention into an existing order that aims to reconfigure it. This approach allows for analysing manifestations of criticism without prior definitions of the objects of criticism or its forms of manifestation, that is, taking into account first and foremost those contexts and attitudes implicated in the artwork itself. Four chronological episodes of Valdas Ozarinskas' oeuvre are analysed in this thesis, spanning the period between 1988 and 2014, and various fields of art – architecture, interior design, photography, art actions, objects and installations, stage design and exhibition design. His oeuvre unfolds as a stage of heterogenous criticism, closely connected to various processes in the life of Lithuanian society and enabled by situationist, actionist and deconstruction strategies within its concurrent environment. Predominant directions of criticism manifesting in his work are described as techno-optimism, a criticism of homogenous visibility and a disillusionment with the development of democracy in the independent Lithuania. His attitudes towards art appear to be in close proximity to Rancière's concept of the aesthetic regime of art. This confirms the hypothesis that the oeuvre of Ozarinskas reflects a belief that art must change the world – which can be linked to 20th century avantgarde movements and based on formal qualities displayed in the oeuvre.

This paper focuses on the oeuvre of the architect and artist Valdas Ozarinskas (1961– 2014) with the aim to analyse how it manifests criticism. To this aim the work uses the concepts of politics, the regimes of art and heterogenous systems of expression articulated by the French philosopher Jacques Rancière. The premises formulated by the philosopher allow for the linking manifestations of criticism to political subject, which is always formed by extracting itself from an existing order as a surplus in regards to existing categories of identification and classification. Politics is understood here as an intervention into an existing order that aims to reconfigure it. This approach allows for analysing manifestations of criticism without prior definitions of the objects of criticism or its forms of manifestation, that is, taking into account first and foremost those contexts and attitudes implicated in the artwork itself. Four chronological episodes of Valdas Ozarinskas' oeuvre are analysed in this thesis, spanning the period between 1988 and 2014, and various fields of art – architecture, interior design, photography, art actions, objects and installations, stage design and exhibition design. His oeuvre unfolds as a stage of heterogenous criticism, closely connected to various processes in the life of Lithuanian society and enabled by situationist, actionist and deconstruction strategies within its concurrent environment. Predominant directions of criticism manifesting in his work are described as techno-optimism, a criticism of homogenous visibility and a disillusionment with the development of democracy in the independent Lithuania. His attitudes towards art appear to be in close proximity to Rancière's concept of the aesthetic regime of art. This confirms the hypothesis that the oeuvre of Ozarinskas reflects a belief that art must change the world – which can be linked to 20th century avantgarde movements and based on formal qualities displayed in the oeuvre.

This paper focuses on the oeuvre of the architect and artist Valdas Ozarinskas (1961– 2014) with the aim to analyse how it manifests criticism. To this aim the work uses the concepts of politics, the regimes of art and heterogenous systems of expression articulated by the French philosopher Jacques Rancière. The premises formulated by the philosopher allow for the linking manifestations of criticism to political subject, which is always formed by extracting itself from an existing order as a surplus in regards to existing categories of identification and classification. Politics is understood here as an intervention into an existing order that aims to reconfigure it. This approach allows for analysing manifestations of criticism without prior definitions of the objects of criticism or its forms of manifestation, that is, taking into account first and foremost those contexts and attitudes implicated in the artwork itself. Four chronological episodes of Valdas Ozarinskas' oeuvre are analysed in this thesis, spanning the period between 1988 and 2014, and various fields of art – architecture, interior design, photography, art actions, objects and installations, stage design and exhibition design. His oeuvre unfolds as a stage of heterogenous criticism, closely connected to various processes in the life of Lithuanian society and enabled by situationist, actionist and deconstruction strategies within its concurrent environment. Predominant directions of criticism manifesting in his work are described as techno-optimism, a criticism of homogenous visibility and a disillusionment with the development of democracy in the independent Lithuania. His attitudes towards art appear to be in close proximity to Rancière's concept of the aesthetic regime of art. This confirms the hypothesis that the oeuvre of Ozarinskas reflects a belief that art must change the world – which can be linked to 20th century avantgarde movements and based on formal qualities displayed in the oeuvre.