Mateo Belgrano, Ph.D.

Hannah Arendt Fellowship 2026 “Democracy”

Junior Fellowship | Aesthetics, Philosophy of Image, Visual Studies

Mateo Belgrano holds a PhD in Philosophy from FernUniversität in Hagen (Germany) and from UCA (Argentina), and a Master’s degree in Argentine and Latin American Art History from Universidad Nacional de San Martín (Argentina). He was a doctoral and postdoctoral fellow at CONICET. He serves as Assistant Professor in Aesthetics and Philosophy of Art at the Pontificia Universidad Católica Argentina. He is an Associate Member of the Cluster of Excellence “Matters of Activity. Image Space Material” at Humboldt-Universität zu Berlin. He is also editor of the academic journal Tábano. He has undertaken several research stays in Germany and Italy supported by various fellowships. He is the author of Resistir la cicuta. La “utilidad” de la filosofía en el siglo XXI (SB, 2025), El oasis del arte en la filosofía de Martin Heidegger (SB, 2023), El gesto criptográfico (Miño Dávila, 2022), and numerous articles on Heidegger’s philosophy and aesthetic theory in peer-reviewed journals.

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ORCID

Mateo Belgrano, Ph.D., Hannah Arendt Fellow 2026

/ Arts and Democracy: Reconsidering Political Aesthetics in the 21st Century

The research examines the relationship between art and democracy against the backdrop of what Rancière called the “hatred of democracy.” Existing approaches tend to divide into two camps: those that conceive of art as a force for consensus, inclusion, and encounter—Dewey, Rancière, Bourriaud—and those that emphasize its conflictual or agonistic potential—Bishop, Rebentisch, Marchart. The research proposes a third position that moves beyond this binary.

The framework is built on a dialogue between Hannah Arendt and Chantal Mouffe. Arendt’s political reading of Kant’s Critique of Judgment highlights the sensus communis and the role of imagination in enabling an “enlarged mentality”—the capacity to adopt the perspective of others and thus achieve consensus within a pluralism of viewpoints. Mouffe, however, criticizes this approach for eradicating real antagonism from democracy and producing a hegemonic consensus. Her agonistic model conceives of artistic practices not as seekers of consensus but as “agonistic interventions within the context of counter-hegemonic struggles.”

The central hypothesis is that these seemingly opposing positions actually share a common root: the power of imagination. Art enables us to imagine alternatives to a given world—its agonistic, critical dimension—but at the same time it allows us to imagine ourselves in the place of others, giving rise to consensus in its etymological sense: con-sensus, “feeling with” another. Rather than choosing between agonistic and ireneic art, we argue that artistic experience can be both at once—agonistic-ireneic: it involves confrontation while simultaneously enabling encounter and recognition. Imagining the new requires an understanding of the other in order to be communicable and meaningful; conversely, all consensus requires a certain amount of confrontation to avoid becoming complacent art. These two dimensions, grounded in imagination, are fundamental to sustaining a healthy and vigorous democracy.

/ Project Activities

Host

Carl von Ossietzky University Oldenburg, logo

Partner

Jun.-Prof. Dr Gesa Wellmann

Gesa Wellmann is a Junior Professor of Philosophy at the University of Oldenburg. She holds a PhD in Philosophy from the Catholic University of Leuven. Her research focuses on German Idealism, Critical Theory, and postcolonial theory. Wellmann’s interest in the joint project Arts and Democracy: For an Agonal-Ireneic Aesthetic is informed by her research on Hannah Arendt and the history of democracy since 1800.