ARCAthens Virtual Residency #2

ARCAthens Virtual Residency #2

We are delighted to introduce our Inaugural ARCAthens Virtual Residency Fellows,

Michael Paul Britto and Eirini Linardaki

Michael Paul Britto

Michael Paul Britto’s interdisciplinary practice spans a broad scope of mediums from videos to digital photography, sculpture, collage, and performance. He has a BA from the City College, NY. His past residencies include: The New Museum, Smack Mellon, The Marie Walsh Sharpe Foundation and LMCC. He has exhibited at El Museo del Barrio, The Studio Museum of Harlem and The Kitchen in (NY) as well as internationally at The Zacheta National Gallery (Warsaw), and the Victoria and Albert Museum (London). Britto has been written about in The New York Times, Art In America and The Brooklyn Rail. He is also a teaching artist, and the co-founder of the “Young Men Of Color” film / video training program at Downtown Community Television in New York City. https://www.brittofied.com/

My work is most concerned with the misconceptions and assumptions communicated by mass media in The United States. My practice creates a platform where I can address political and cultural awareness, using the customary, as metaphor. I encourage the viewer to think about socially nurtured assumptions of blackness, poverty, youth, and the characteristics of acceptable behavior, to create a perspective that is more responsive than reactionary. By appropriating the appropriated (i.e. pop culture) and mining historical references, I believe that my messages resonate from a globally shared influence of “American” culture.
Michael Paul Britto

Eirini Linardaki

Eirini Linardaki was born in Athens and studied at Limerick L.I.T., Ireland, Berlin and Marseille. She lived in France for more than twenty years before moving to the island Crete, where she is now based, developing projects mainly in the public sphere, on Crete, Athens, Paris and New York.She has exhibited at the Boijmans Museum, Rotterdam, Stegi, Onassis Cultural center Athens, House of Cyprus in Greece, Salon de Montrouge, Fri-Art Kunsthalle, Fribourg; Natural History Museum, Geneva, Macedonian Museum of Contemporary Art, Hamburg Kunsthaus, Rutgers University, NJ, Institut Français d’Athènes, John Jay College, Anya and Andrew Shiva gallery, Lower East Side Girls Club, NYC, Radiator Gallery, NYC, Clemente Soto Vélez Cultural and Educational Center, NYC.In January 2020 she was one of the curators of the Night of Ideas and Philosophy, for the French Institute of Greece.In February 2020 she organized and curated a «residency in the workplace» and exhibition program “Occupy # 1, New York” in collaboration with the Consulate General of Greece in New York and the Cultural Services of the French Embassy in the USA, where artists were invited to work within the offices and in collaboration with administrative staff of the Consulate and create art through dialogue with them. https://linardakiparisot.wixsite.com/linardaki-parisot

“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.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 overall journey as an artist. The complexity and persistent presence of the issues I face in various cities and communities become part of my artwork, expressed through materials found and generated by the ambitions of the participants. “

Debris and smoke rise during what rebel fighters said was an operation in which they blew up a tunnel targeting a post controlled by forces loyal to Syria’s President Bashar al-Assad, in Ariha town in Idlib province May 12, 2015. Rebel fighters announced on Tuesday the start of an offensive to take control of Ariha town from government forces. REUTERS/Ammar Abdullah – GF10000092431

Instagram Visual Conversation #2

ARCAthens Virtual Residency #2 is our second residency of this season, featuring our next AVR Fellows, Michael Paul Britto, from the Bronx, New York, and Eirini Linardaki, from Athens, Greece. Their Instagram conversation/takeover is taking place from July 20-August 14, 2020, and will be posted in chronological order, with the most recent date first.

week 4: #gender

View this post on Instagram

Curatorial Reflections: Gender In the AVR2’s final week, #MichaelPaulBritto and #EiriniLinardaki’s visual conversation examines gender. The #WorldHealthOrganization defines gender as the result of socially constructed ideas about the behavior, actions, and roles a particular sex performs… that a society or culture constitutes as #masculine or #feminine , and our AVR2 Fellows’ exchange examines identities that do AND do not correspond to established ideas of male and female, as seen through their own experience. In their exchange, the Fellows present us with collages, videos, and installations depicting #androgynous figures ( #GraceJones ), revolutionaries ( #HarrietTubman ), #dragqueens , #dragkings , sometimes with gravity, sometimes employing humor to approach sensitive subjects. Eirini’s approach examines gendered dynamics involving relationships and narratives that bind and limit, and within couples where she “imagines an escape from lives which seemingly bind us to results of choices not of our own making,” all while navigating the “multitasking” women do which “builds a mental pyramid of issues waiting to be resolved and interrupting the creative…” Michael’s approach also examines #Misogyny and the suffering of mothers, but included a deeper focus on masculine pride, exaggerated masculinities, as well as taught behaviors. His “Manding-Oh-No!” observes the pathology of interracial desire and the hypersexualized Black male, and the performance of #White-ness. Gender is no small topic and we will discuss it further during the Presentation/Discussion by the ARCAthens Virtual Residency (AVR2) Fellows, so, SAVE-THE-DATE: Saturday, August 22, 12pm EST !!
Links coming soon on profile and website! Yours, Aristides #gender
#AAVirtualResidency
#AVR2
#InstagramTakeover
#linardakiandco
#brittofied

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

le interruzioni, video, 3.20', 2006 This video shows a woman in her kitchen, where she is reading the first lines of the Divine Comedy and she is explaining how this is all like her life and the fact that she is arriving upon the midway of her own life. As we are in the back of a hotel she manages, her employees keep coming in to tell her about the various problems that come up in the service. She stops reading the book each time to hear their problems and then resumes her reading, until the moment she is finally stopped by another problem for good. As a woman I relate to this situation where multitasking builds a mental pyramid of issues waiting to be resolved and interrupting the creative thinking. #PostedByEiriniLinardaki #gender #AAVirtualResidency #AVR2 #InstagramTakeover #MichaelPaulBritto #EiriniLinardaki #linardakiandco #brittofied #contemporaryartnyc

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

Michael Paul Britto Manding-Oh-No!, 2019 Wood Panel, Acrylic Paint, Cut Laser Print Dimensions 8 in x 10 in “One is no longer aware of the negro but only of a penis. He is turned into a penis. He is a penis.” -Frantz Fanon, Black Skin, White Masks “Mandingo” is a term used to describe a hypersexualized Black male. Emphasis is placed on the physical features as a personification of an animal. Black men who fall under this category are admired for their physical stature as means of sexual prowess. #postedbymichaelpaulbritto #movement #aavirtualresidency #avr2 #instagramtakeover #michaelpaulbritto #eirinilinardaki #brittofied #blacklivesmatter #blm #menofcolor #linardakiandco #gender #mandingo #blackmale #junglefever #sexualprowess #frantzfanon #objectification

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

Michael Paul Britto Machismo!, 2017 Digital Video Vignettes Dimensions Variable Machismo is the sense of being 'manly' and self-reliant, the concept associated with "a strong sense of masculine pride: an exaggerated masculinity." It is associated with "a man's responsibility to provide for, protect, and defend his family." “Machismo” is a series of video vignettes that address the construct of masculinity in relation to contemporary society. The socio-cultural definition of “machismo” includes the set of behaviors and rules of conduct that are indoctrinated into young boys from an extremely early age. These modeled and informally taught behaviors include: demanding toughness, strength, independence, and the internalization of emotion and expression. “Machismo” is intended to shed light on a serious problem, specifically within Latino culture, treating this complex and sensitive subject with humor. - [x] #postedbymichaelpaulbritto #movement #aavirtualresidency #avr2 #instagramtakeover #michaelpaulbritto #eirinilinardaki #brittofied #blacklivesmatter #blm #womanofcolor #linardakiandco #gender #Machismo #Misogyny #latinomen #humor #parody #comedy #drag #dragqueen

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

Michael Paul Britto Dirrrty Harriet Tubman #2, 2006 Digital Print Dimensions 6ft x 9ft “Dirrrty Harriet Tubman” gives the legendary black abolitionist Harriet Tubman, still in 19th-century garb and righteously angry as ever, a weapon and the run of the New York City subway and parks. Harriet Tubman was an American abolitionist and political activist. Born into slavery, Tubman escaped and subsequently made some 13 missions to rescue approximately 70 enslaved people, including family and friends, using the network of antislavery activists and safe houses known as the Underground Railroad. #postedbymichaelpaulbritto #movement #aavirtualresidency #avr2 #instagramtakeover #michaelpaulbritto #eirinilinardaki #brittofied #blacklivesmatter #blm #womanofcolor #linardakiandco #gender #strongwomen #abolitionist #harriettubman #dirrrtyharriettubman #slavery #studiomuseum

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

fountain, vidéo 4mn, 2001. I was always interested by the scenes of women showering in films as a form of catharsis from violence. In this setup we find a feeling akin to a suspension of time. In “Fountain”, a young woman seen from behind, is leaning out of a window. The spray from a hot shower drips down. Little by little, the condensation of the steam forms a hazy screen on the glass of the lens, which becomes blurred. Gradually the screen-like glass becomes opalescent and the loss of vision is replaced by the intensity of acoustic perception. #PostedByEiriniLinardaki #gender #AAVirtualResidency #AVR2 #InstagramTakeover #MichaelPaulBritto #EiriniLinardaki #linardakiandco #brittofied #contemporaryartnyc #contemporaryartcrete

A post shared by ARCAthens (@arc_athens) on

week 3: #fear/fatigue

View this post on Instagram

Curatorial Reflections: Fear/Fatigue In the AVR2’s third week, Michael Paul Britto and Eirini Linardaki’s visual conversation takes us on a journey of their apprehensions as well as deep seated fears. A brief synopsis: Eirini starts us with a collage interpretation of the #PearlHarbor attack giving the horrible event a new life, “as a sort of sculpture” focusing on the “composition and the shape of the explosion.” Michael’s video “Black Boy” responds by illuminating another fear, the “Scarcity Mindset”, the belief that there will never be enough, resulting in feelings of fear, stress, and anxiety. He follows up with a digital collage of #MalcomX reminding us that “the greatest enemy a man can have is fear.” Eirini then announces a show she is curating about “people living on the edge of society,” and with another collage of an explosion inspired by Beirut. Michael’s collage “The Overseer” hints at strange relations induced by the fear of power, and follows with “A White Woman’s Tears”, a sculpture about the weaponized threat of white woman fragility. Eirini’s watercolor of a homeless woman in California, reminds of struggles women continue to endure just as some women navigate power and privilege. Her watercolor “Wreck of Hope_Luxor Air” combines a post-explosion scenario with military presence, to which Michael’s collage, #Shock&Awe reminds us that “the racial biases and economic vulnerabilities of poor and working-class whites through racially coded rhetoric on crime and welfare” have been used by conservative white elites to put “blacks back "in their place.”” Military slaughter, accidents, and explosions, meet social fears of a system which subjugates the “other” whether defined by race, sex, or class. But where is the other theme “Fatigue”? I believe the trace of that sibling theme, fatigue, is found in all of these images as they are residual and absurd in their senselessness and endurance. Next week the Fellows explore Gender. Join the conversation by commenting and sharing! Yours, Aristides #Week3 #Fear #Fatigue #MichaelPaulBritto #EiriniLinardaki #AAVirtualResidency #AVR #AVR2 #InstagramTakeover #ScarcityMindset #Beirut #WhiteWomanFragility

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

Michael Paul Britto Shock & Awe, Untitled #20, 2015 Cut Magazine Paper, Gesso Board Dimensions 6 in X 6 in “Jim Crow and mass incarceration have similar political origins...both caste systems were born in part, due to desire among white elites to exploit the resentments, vulnerabilities and racial biases of poor and working-class whites for political or economic gain. Segregation laws were proposed as part of a deliberate and strategic effort to deflect anger and hostility that have been brewing against the white elite away from them and toward African Americans. The birth of mass incarceration can be traced to a similar political dynamic. Conservatives in the 1960s and 1970s sought to appeal to the racial biases and economic vulnerabilities of poor and working-class whites through racially coded rhetoric on crime and welfare. In both cases, the racial opportunists offered few, if any, economic reforms to address the legitimate economic anxieties of poor and working-class whites, proposing instead a crackdown on the racially defined "others." In the early years of Jim Crow, conservative white elites competed with each other by passing ever more stringent and oppressive Jim Crow legislation. A century later, politicians in the early years of the drug war competed with each other to prove who could be tougher on crime by passing ever harsher drug laws- a thinly veiled effort to appeal to poor and working-class whites who, once again, proved they were willing to forego economic and structural reform in exchange for an apparent effort to put blacks back "in their place.” ― Michelle Alexander, The New Jim Crow: Mass Incarceration in the Age of Colorblindness #postedbymichaelpaulbritto #movement #aavirtualresidency #avr2 #instagramtakeover #michaelpaulbritto #eirinilinardaki #brittofied #blacklivesmatter #blm #manofcolor #linardakiandco #fearfatigue #racialbias #massincarceration #jimcrow

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

Michael Paul Britto “The Overseer” 2015 Gesso Board, Cut Magazine, Glass Bottle, Cut Vinyl Dimensions Variable Photos by Argenis Apolinario On large plantations, the person who directed the daily work of the slaves was the overseer, usually a white man but occasionally an enslaved black man—a "driver"—promoted to the position by his master. Some plantations had both a white overseer and a black driver, especially in the deep South or on plantations where the master was often absent. “In some cases, you can tell how somebody is being treated by their own boss from the way they are treating someone to whom they are a boss.” ― Mokokoma Mokhonoana “While adoration periodically crept into the relationships between slaves and overseers, their most unsavory interactions provided the inexplicable narrative for a dark period in American history.” ― Trevor P. Wardlaw, Slaves and Overseers: Antiquated Hate Crimes and Peculiar Relationships #postedbymichaelpaulbritto #movement #aavirtualresidency #avr2 #instagramtakeover #michaelpaulbritto #eirinilinardaki #brittofied #blacklivesmatter #blm #manofcolor #linardakiandco #fear #rulethoughfear #overseer #slavery #stopandfrisk #argenisapolinario #bottleart

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

The thing that comes_Pearl Harbor, digital collage, archival photo, 2020 This is part of the collage series that are made over archival photos. This particular one is the most well known of the Pearl Harbor attack on a Sunday morning in 1941. The attack led to the United States' formal entry into World War II the next day. In this collage I introduced japanese fabrics that are changing the profile of the imagery. In my attempt to cover up history and war images I draw the attention of the viewer to the photographic composition and the shape of the explosion as a sort of sculpture, an overwhelming volume developing and overtaking the frame. #PostedByEiriniLinardaki #fear/fatigue #AAVirtualResidency #AVR2 #InstagramTakeover #MichaelPaulBritto #EiriniLinardaki #linardakiandco #brittofied #WWII #Pearlharbor #pearlharborday #contemporaryartnyc #contemporaryartcrete #womenartists #women_artists #womenartistsofinstagram #womenempoweringwomen #womenempowerment #womensupportingwomen

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

Michael Paul Britto “Black Boy”, 2013 Digital Video Loop, 00:47 sec. Dimensions Variable “Black Boy” examines the notion of a “Scarcity Mindset” and how it impacts the lives of many young men of color. “Never surrender your hopes and dreams to the fateful limitations others have placed on their own lives. The vision of your true destiny does not reside within the blinkered outlook of the naysayers and the doom prophets. Judge not by their words, but accept advice based on the evidence of actual results. Do not be surprised should you find a complete absence of anything mystical or miraculous in the manifested reality of those who are so eager to advise you. Friends and family who suffer the lack of abundance, joy, love, fulfillment and prosperity in their own lives really have no business imposing their self-limiting beliefs on your reality experience.” ― Anthon St. Maarten #postedbymichaelpaulbritto #movement #aavirtualresidency #avr2 #instagramtakeover #michaelpaulbritto #eirinilinardaki #brittofied #blacklivesmatter #blm #manofcolor #linardakiandco #scarcitymindset #scarcity #blackboy #digitalanimation #videoart #videoartist

A post shared by ARCAthens (@arc_athens) on

Week 2: #movement

View this post on Instagram

Curatorial Reflections: Movement. In the second week of the AVR2, Michael Paul Britto and Eirini Linardaki visually converse about “Movement”, the “notion of motion” (whether that manifests as a record of the activity of the individual or collective body), as well as the record of the activity of the mind, as seen in social movements. The conversation starts with Michael’s haunting self-portrait titled #Anxiety, with the artist shaking his head in possible disapproval, disbelief, or confusion, all induced by anxieties which we can all relate with these days, to varying degrees and intimacy. Eirini’s project of using movable images to reconstruct the tragic #Challenger explosion, seen widely as a live television broadcast, reminds us of the role of failure in all our high-reaching endeavors… Eirini’s figurative installation of diverse children in movement, and Michael’s “Army of Me” reference social movements while formally conversing about the figure as subject, further investigated in his video “I'm A Slave 4 U”, a recast and reworked #BritneySpears work to illustrate common slave practices, to which Eirini responds with her and Vincent Parisot’s site-specific collaboration illuminating the metaphors of borders, the refugee crisis, as well as the inherent motion of the seemingly static or stable. Eirini’s performance on an itinerant raft in different contexts “representing the need of so many humans in this world needing to flee through borders to a better life,” reminds us that geopolitical borders are artificial constructs, to which Michael responds by focusing on the moment of the motion in a fall, and the interior borders: the ones in our minds and hearts, those of “isolation, anger, and resentment” -further examined in his “Stages Of Relations”. Eirini then closes the week by reminding us of the social borders women are often confronted with noting how slow the movement has been to break those down. AVR2 Fellows start Week 3 tomorrow, #Fear and #Fatigue, and I encourage you to join the conversation by commenting and sharing! Yours, Aristides #Week2 #Movement #MichaelPaulBritto #EiriniLinardaki #AAVirtualResidency #AVR #AVR2 #InstagramTakeover

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

The museum ninja This is the moment where I included a moment of my life as a monther into my work as an artist : a portrait of my son playing a video game while, at the same time, observing me closely as I walk in a show at the MET Breuer. Women / mothers-artists are usually frowned upon when they bring their “family dimension” into their professional life. It has been changing a little in the last few years, but I have been very surprised by this fact in my life as a woman artist. #PostedByEiriniLinardaki #movement #AAVirtualResidency #AVR2 #InstagramTakeover #MichaelPaulBritto #EiriniLinardaki #linardakiandco #brittofied #contemporaryartnyc #contemporaryartcrete #motherartist #womenartists #women_artists #womenartistsofinstagram #womenempoweringwomen #womenempowerment #womensupportingwomen #momartists #metbreuer #met #michaelpaulbritto

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

Theirland, a not unnatural enterprise. Raft /bed sculpture, performance and film, collection Macedonian Museum of Contemporary Art, 2006-2012 Since I was a little child I made drawings of boats all the time. These boats were always recipients of humans going somewhere better. When I was little, it was leaving for a vacation, to some southern island, in art school I was fascinated by the boat of Haron, the god of the underworld who carries souls to hell, and since a few years I am fascinated by rafts, and I make many of them representing the need of so many humans in this world needing to flee through borders to a better life. Full video on https://linardakiparisot.wixsite.com/linardaki-parisot/video- #PostedByEiriniLinardaki #movement #AAVirtualResidency #AVR2 #InstagramTakeover #MichaelPaulBritto #EiriniLinardaki #linardakiandco #brittofied #contemporaryartnyc #warreportage #refugeeswelcome #openallborders #contemporaryartcrete #momus #macedonianmuseumcontemporaryart #kodraactionfield #publicartgreece #publicart

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

Michael Paul Britto, “Drop, Catch”, 2015 Cut Magazine Paper, Arches Paper Many men have not been told how to process and talk about their emotional experiences, furthering a sense of isolation, anger, and resentment. For these men, this creates an emotional volatility that can sometimes manifest in seeming “shut down” in relationships and friendships. At its worst, this budding resentment can manifest in outward expression of anger, aggression, and even violence. -Jor-El Caraballo, Talkspace therapist https://therapyforblackmen.org #postedbymichaelpaulbritto #movement #aavirtualresidency #avr2 #instagramtakeover #michaelpaulbritto #eirinilinardaki #brittofied #blacklivesmatter #blm #manofcolor #linardakiandco #therapyforblackmen #yougoodman #mentalhealthformenofcolor #therapyisnotbad #menneedtherapytoo

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

Here is a public art project I did in summer 2019 for Hommocks middle school in Larchmont, NY. I really enjoyed painting the diverse figures of the children in movement throughout the school, during workshops. In retrospect, I remember how much I enjoyed the studio time for this project, which took several months, it was labor intensive and made me realize the actual time when I practice is the best time of all projects. #PostedByEiriniLinardaki #movement #AAVirtualResidency #AVR2 #InstagramTakeover #MichaelPaulBritto #EiriniLinardaki #linardakiandco #brittofied #contemporaryartnyc #larchmont #hommocksmiddleschool #mamaroneck #unionfreeschooldistrict #publicart #publicartny #publicartnewyork #childrenart #childrenartworkshop

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

The thing that comes_Challenger. Transformable collage, magnetic drawings. Residency at LowerEastside Girls Club, 2019. The particularity of this collage is that the participants can move the magnetic parts to recompose the artwork made of drawings of light and matter explosions, gigantic fireworks against a dark charcoal sky. Producing a sight of transformable tragedy, the images are drawn from the Space Shuttle Challenger explosion in 1986. The images and shape of the explosion are very recognizable as so many people (including school classes) witnessed the launch on live television broadcast because of the presence of high school teacher Christa McAuliffe, who would have been the first teacher in space. The exact timing of the death of the crew is unknown; several crew members are known to have survived the initial breakup of the spacecraft. The shuttle had no escape system, and the impact of the crew compartment at terminal velocity with the ocean surface was too violent to be survivable. #PostedByEiriniLinardaki #movement #AAVirtualResidency #AVR2 #InstagramTakeover #MichaelPaulBritto #EiriniLinardaki #linardakiandco #brittofied #contemporaryartnyc #les #lowereastsidegirlsclub #lowereastside #contemporarydrawing #contemporaryartcrete #spaceshuttlechallenger #fineart #nasahistory #spaceshuttlechallenger #space #challenger #history #womenshistorymonth #spaceprogram #christamcauliffe

A post shared by ARCAthens (@arc_athens) on


Week 1: #topology/misconceptions

View this post on Instagram

Curatorial Reflections: AVR2, the second ARCAthens Virtual Residency, welcomes #BronxArtist Michael Paul Britto and #GreekArtist Eirini Linardaki, based in #Heraklion #Crete, to an Instagram Takeover, where these two wonderful artists engage in a visual conversation. 
 As the first week closes and we look back and consider the theme: Topology/Misconceptions, the #Fellows use their original images, mostly of their artwork, to establish a conversation that quickly moves us from an introduction of place or person to introductions of inspirations and motives. Through their images and words, both Fellows invite us to consider issues regarding the human condition: race, violence, tragedy, war, suicide. In trying to illuminate relations to the weekly theme, Topology/Misconceptions, I found myself considering the theme itself and wondering if the Fellows’ elusive adherence to it may be of note: Is topology itself understood as a misconception? Is topology a study of “space” or of the heart and the soul? Is the landscape the psyche itself? This “misconception” or contradiction may be reflected in both Eirini’s ”Pushing Huey Into the Ocean”, an image of the drowning “savior” #helicopter (from the #VietnamWar evacuation, code-named Operation Frequent Wind) which had to be sacrificed to the sea due to lack of space, to Michael’s 2010 “Black Pride, White Privilege", a mirror sculpture operating within a mirrored landscape of many perceptive layers, where we are asked to consider multiple conceptual layers and meanings, even the layer of how the text “Pride Privilege” itself is perceived. Next week’s theme is #Movement and I am excited to see what awaits us! Meanwhile, please share your thoughts with us here, and stay healthy, hopeful, and focused!

Yours,
Aristides Logothetis #Week1 #Topology / #Misconceptions #MichaelPaulBritto #EiriniLinardaki #AAVirtualResidency #AVR2 #instagramtakeover

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

Michael Paul Britto “Never Surrender” 2012, 6 inches x 6 inches Gesso Board, Cut Magazine Advertisement I work with, and mentor young men of color on a daily basis. Many of my interactions are discussions about coping with everyday life, structural racism, and the misconceptions the world has about them. Many of these conversations inform my work. Hopelessness, and giving up on life comes up a lot. I totally identify with these young men, and I still experience these feelings as an adult quite often. As a young person I contemplted suicide several times, but I was able to work through a lot it by creating art. “Never Surrender” was inspired by a conversation with one of my mentees, and the silhouette is based on an actual photograph of that young man of color. The National Suicide Prevention Lifeline: 1-800-273-TALK (8255), online chat at suicidepreventionlifeline.org or text TALK to 741741 #postedbymichaelpaulbritto #topology/misconceptions #aavirtualresidency #avr2 #instagramtakeover #michaelpaulbritto #eirinilinardaki #brittofied #blacklivesmatter #blm #menofcolor #linardakiandco #suicideprevention #blackandlatinomalesuicide

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

In 2008 I did a project in Liberia with Handicap International, working with these amazing  students raising awareness on mobility and accessibility for people with disabilities. Liberia is a unique country, running like an alternate vision of America. Ironically, the country’s currency is called Liberty Dollar. One says “this costs 20 liberties”. The images are painted signs of places to exchange American dollars for Liberties. I loved these brut versions of US $ paintings, them being interpretations of course. Liberia began as a settlement of the American Colonization Society. So they send African-Americans who enslaved the local populations. They were called Americo-Liberians, they developed a small elite, and indigenous tribesmen were excluded from birthright citizenship in their own land until 1904, in an echo of the United States' treatment of Native Americans. #postedByEiriniLinardaki #topology/misconceptions #aavirtualresidency #avr2 #instagramtakeover #michaelpaulbritto #eirinilinardaki #linardakiandco #brittofied #liberia #handicapinternational #blm #blacklivesmatter #contemporaryart

A post shared by ARCAthens (@arc_athens) on

View this post on Instagram

“The Brown Man Experience” was initially developed during the 2014 Performing Artist Residency at Casita Maria Center for Arts & Education in the South Bronx.The interdisciplinary work incorporated personal histories, social statistics, and video interview accounts from local men of color on their experiences with racial group inequity. The final project culminated in a theatrical soundscape and visual performance that gave the audience a multi-sensory experience of the perspective of what it is to be “Brown Man” in America. The Brown Man Experience, Michael Paul Britto 2014 #postedbymichaelpaulbritto #topology/misconceptions #aavirtualresidency #avr2 #instagramtakeover #michaelpaulbritto #eirinilinardaki #brittofied #blacklivesmatter #blm #menofcolor Link to complete video: https://youtu.be/J0b8s2QgH4o

A post shared by ARCAthens (@arc_athens) on