Date of residence: January - February 2020
About the Artist
Aloka Trevor is a visual artist originally from Uganda. The greatest inspiration for his work comes from the immediate context, this can be seen in the Lucid but Invisible Beauty project where he explores different stereotypes created in Lango (a community in northern Uganda), where the Langi man is considered lazy and hostile for not belonging to the socially accepted norm. In this project he talks about how while we struggle to be free, we submit to colonization forgetting and ignoring our heritage and culture, thus embracing the foreign culture.
The visual arts in Aloka's work is mainly based on creating photographic scenes intervened with drawings to emphasize the themes of her research: violence, loss of identity and heritage.
This residency is part of the collaboration with Arts Collaboratory.
Aloka will have the theoretical and plastic accompaniment of the plastic artist Ana Mejía Macmaster. In these meetings, they will discover common ground to reflect on the idea of Colombian and Ugandan stereotypes as the yoke of the 21st century.
The artist seeks to connect through the language of video and installation the reflections that he will achieve through the exploration of the context. He conceives video from its non-narrative part as a means of representation that allows questioning the images constructed from the collective imagination.
In turn, Aloka will put into practice unconventional charcoal drawing techniques that he will include in a video installation as part of his final presentation at C3P.
Aloka Trevor and Ana Mejía Macmaster
The exhibition proposes a series of works resulting from the process of investigation, exploration and reflection made up by the artist-in-residence Aloka Trevor and the local artist Ana Mejía Macmaster.
Like all production of images, the proposals by the artists have been impregnated by the social reality mediated between the objective and the subjective, reason and instinct, enigma and praxis.
Taking as a starting point the ambiguity of perception, the pieces shown have gestures that were worked on thinking about knowing and transforming. An example of this process is the title that starts the exhibition: Liberty Edembe; conceived at first as a private name formed by the concept of interpretive freedom and Edembe, a word in Lugandés that means peace, freedom. Another gesture that claims the anonymity of the descriptive image is the shadow, a projection of light that allows us to be receptive to the unknown, to the different. It allows us to develop an open dialogue about the idea of Colombian and Ugandan stereotypes and prejudices as the yoke of the 21st century.
As a last gesture we have video art as a counter semantics of representation where the unconventional narrative forms of the image find a critical power to the imagined communities (Benedict Anderson).
Residence in collaboration with Arts Collaboratory and 32nd East, Kampala Uganda.