Artivism: The Power of Art for Social Transformation
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"The Occupy Art Project took its roots in New York, in 2020, when I invited about 28 artists to explore and invest in the spaces of the Consulate General of Greece in New York, as a form of physical and dialectical occupation.
Joined by a very active team of artists and curators, we aimed to question the nature of the presence and the role of art in public space and in a public service, a representation of Greece, a country that inspired artists via its aesthetics. Being of dual citizenship and living between countries I also wished to highlight the citizenship of artists as fluctuating and transformable throughout life, and in osmosis with the communities they interact and build projects with. Through this project, we also interrogated the public space as a primary horizon for dialogue and the role of artists as mediators questioning how social issues walk hand in hand with artistic research. The continuation of Occupy Art Project during the pandemic became a platform where we expanded our need for exchange. We created a broad network of initiatives, and an open dialogue questioning our social roles through an existential and anthropological interrogation with public panels and discussions. For the following months, through “Expanded Studios” the network of artists, curators and initiatives, in Greece, France and the US, opens this dialogue from within the studios and creative spaces. Each participant of the project, is to invite an artistic team and highlight, in her/his turn a new network that moves organically in this path of artistic citizenship."
Eirini Linardaki was born in Athens and studied at L.I.T. Limerick, Ireland, HDK Berlin and Marseille. She lived in France for more than twenty years. She now shares her time between the island of Crete, Paris and New York, developing projects in the public sphere. Her public art collaborations include the City of New York, the City of Newark, the City of Paris, the City of Montrouge, France, the City of Heraklion, Agios Nikolaos and Chania, in Greece. “Communities are at the center of my practice. Whether I involve elderly citizens, students, schools, or residents from specific localities, their participation, journeys & cultural heritage bring us to an exploratory path together that nourishes the development of these public projects. At this time of historic global crisis, art is helping and serving people in their communities. I believe that right now in history, art is keeping pace with social change and can help youths to express themselves through projects and voice their view of the world. Sometimes persistent social issues knock on our door and enter our dreams, becoming a defining aspect of a useful artistic vision. I experience this through my research, my practice and my journey. The complexity of these environments I witnessed in various communities (Baltimore Vocational High School, Bay Ridge, Schools of Marseille, Lower East Side Girls Club) became part of my work, expressed through channels found with my students, and generated new ambitions for the youths that share these experiences with me.
The vision of Artivism: The Power of Art for Social Transformation is to generate a movement with committed social artivists in response to historic global unrest. Artivism aims to generate community through multi-disciplinary teamwork for a more dignified and meaningful coexistence, however you define these terms. The goal of this initiative is to nurture confidence in taking continuous action from wherever you are by means of reciprocity.
Artivism: The Power of Art for Social Transformation is a collaboration between Adelphi University; Gottesman Libraries, Teachers College, Columbia University; and Sing for Hope.
Artivism: The Power of Art Social Transformation, grew out of Illuminations of Social Imagination: Learning From Maxine Greene, (Dio Press, 2019), edited by Teachers College alumni Courtney Weida and Carolina Cambronero-Varela, and Dolapo Adeniji-Neill, of Adelphi University. "The concept for this book is inspired by the late Maxine Greene (2000), who described her enduring philosophical focus and legacy of social imagination as “the capacity to invent visions of what should be and what might be in our deficient society, on the streets where we live, in our schools” (p. 5). The purpose of this volume is to examine and illuminate the roles of community organizers and educators who are changing lives through public art and community arts projects. This research originally emerged from a well-attended 2018 conference presentation and exhibition at Teachers College, Columbia University, engaging with the local and international community of arts education and arts administration."
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Last Updated: 10:14 pm, Thursday, Sep 30 , 2021