Mifta Zeleke conducting research at the National Museum of Ethiopia. Courtesy of EAMAN. Photo by Ashenafi Mestika.

“People often think African art is just about tradition or folklore, but it’s far more complex — it's a critical part of the global conversation,” says Mifta Zeleke, a curator whose work reshapes perceptions of Ethiopian contemporary art.

Zeleke, 39, has spent the last 15 years deeply engaged with Ethiopia's art scene as a curator, writer, and instructor at Addis Ababa University‘s Alle School of Fine Art and Design, one of the oldest art schools on the continent. He is a father of three and the founder of the Guramayne Art Center, an organization that supports and amplifies the work of young and emerging artists.

With a commitment to bridging local and global artistic dialogues, Zeleke has curated exhibitions that address pressing social and political themes. His recent exhibitions include a show featuring the work of Mulugeta Tafesse, a prominent Ethiopian artist based in Belgium, which critiqued capitalism and recent political developments in Ethiopia. Reflecting on the vital role of the Ethiopian diaspora, Zeleke explains, “If we want to expand the potential of Ethiopian art, the growth must come from within, not from the outside.” 

Mulugeta Tafesse Exhibition, Addis Ababa Modern Art Museum, 2023. Photo: Omid Memarian, used with permission.

In 2023, during my visit to Addis Ababa, Mifta graciously guided me through the Alle School of Fine Art and Design, offering a glimpse into the heart of Ethiopia’s artistic heritage. He invited me to several gallery openings, including the much-anticipated exhibition of the renowned Mulugeta Tafesse, which was met with immense enthusiasm and admiration from the art community. We wandered through vibrant studios, engaging with artists whose work reflected both tradition and innovation. In a truly special moment, Mifta unlocked the doors to the school’s art repository — a treasure trove of hundreds of breathtaking works, old and new, capturing the depth and magnificence of Ethiopia’s creative legacy.

In an interview with Global Voices, Zeleke discussed the contributions and challenges of Ethiopian artists in the diaspora, the need for stronger institutional foundations for the arts in Ethiopia, the impact of international art fairs like the 1-54 Contemporary African Art Fair, and the evolving relationship between Ethiopia’s art scene and the global art market.

Excerpts from the interview follow: 

Alle School of Fine Art and Design, Addis Ababa, Ethiopia. Photo: Omid Memarian, used with permission.

Omid Memarian (OM): Ethiopian art has a long history, but what has driven the rise of prominent Ethiopian artists on the global stage over the past two decades?

Mifta Zeleke (MZ): Ethiopia's strong tradition of art education is key. The Alle School of Fine Art and Design, formerly Addis Ababa Fine Art School, was established in 1957. Since its early years, it has been entirely run by Ethiopian artists and educators, focusing on teaching formal skills and the language of art. About 20 years ago, the school joined Addis Ababa University, developing a more inclusive curriculum that integrated global perspectives on art.

Faculty members, particularly those who joined in the '90s after studying abroad, helped shift from a traditional skill-based focus to more contemporary approaches. This allowed the school to engage with modern and contemporary art, creating a diverse teaching environment. Artist groups like Dimension Group, New Art Space-NAS Gedam, Habesha Art Studio, and Art Village (2006–2013) played crucial roles in shaping Ethiopian contemporary art. These collectives, foreign cultural institutions, and curators like Elizabeth W. Georgis were instrumental in pushing Ethiopian art onto the global stage.

The National Museum, Addis Ababa, Ethiopia. Photos: Omid Memarian, used with permission.

OM: The popularization of African art globally has impacted various art scenes. How has this surge affected Ethiopian art, especially among young artists?

MZ: We must evaluate whether this surge has benefited Ethiopian art. While the global spotlight on African art has helped some countries connect with international platforms, Ethiopia has not fully gained from this momentum. Ethiopian artists have worked hard to build their careers, often needing more external help. Whether this surge has led to more vital art institutions or meaningful exchanges in Ethiopia remains to be seen.

For many African countries, exposure through platforms like biennales has allowed artists to break into international markets. However, Ethiopia’s growth results from local artists, curators, and galleries pushing boundaries. Ethiopia hasn't benefited as much from the global surge, and the art scene here continues to develop primarily through internal efforts.

The National Museum, Addis Ababa, Ethiopia. Photos: Omid Memarian, used with permission.

OM: What should people know about Ethiopian art that they might not already understand, ideologically, technically, or culturally?

MZ: Modernist artists laid the foundation for contemporary Ethiopian art. These modernists, along with artists from the diaspora who have returned or stayed connected to the scene, play a significant role. Despite access to education and critical platforms, many Ethiopian artists still need to be recognized due to a lack of connections with international curators and galleries.

There’s an extraordinary pool of talent here, especially among artists deeply rooted in local traditions. These artists have immense potential, but many still lack access to larger platforms. Ethiopian art's current global visibility represents only a fraction of its potential. With more resources and exposure, Ethiopian artists could profoundly impact African and international art.

L-R Omid Memarian, Mulugeta Tafesse and Mifta Zeleke at Addis Ababa University's Alle School of Fine Art and Design, 2023. Photo courtesy Omid Memarian.

OM: You travel often and encounter perceptions about African and Ethiopian art. What do you think are the biggest misperceptions?

MZ: One of the most pervasive misperceptions is that African art is often viewed as a monolithic entity. Africa has 54 countries, each with diverse and rich artistic traditions, but these complexities often need to be simplified. Labels like “African art” are misleading and reinforce this generalization. Similarly, African art is usually seen through an exotic or sensational lens, overshadowing the profound intellectual and political contributions that modernist African artists have made to nation-building and independence movements.

For example, exhibitions like Magiciens de la Terre at the Centre Pompidou in 1989 attempted to bring African and non-Western art into the mainstream but reinforced stereotypes about African art as solely figurative or traditional. This is a limited view of African art’s diversity.

Mifta Zeleke conducting research at the National Museum of Ethiopia. Courtesy of EAMAN. Photo by Ashenafi Mestika. Photo: Courtesy of Mifta Zeleke.

OM: As a curator, what challenges and opportunities do you encounter in Ethiopia?

MZ: The challenges are systemic. Ethiopia has one strong art school but needs more critical infrastructure, such as dedicated contemporary art museums. The National Museum, while necessary, houses a wide range of collections from archaeology to sociology, with little focus on contemporary art. The Entoto Technical and Vocational School has contributed to the scene, but overall, Ethiopia’s universities do not have the robust art programs necessary to support a growing contemporary art scene.

The lack of a national art policy or institutional resources also significantly hampers curatorial work. Ethiopia’s first-ever pavilion at the 2024 Venice Biennial, organized by a European gallery without involving local artists or institutions, highlights these issues. The process missed an opportunity to establish stronger links between the Ethiopian art scene and the global art world, reinforcing the need for institutional critique and greater local involvement in shaping Ethiopia’s artistic future.

These challenges present opportunities, as well. Ethiopia’s vibrant artistic community, filled with artists who push boundaries, allows curators to fill gaps and create meaningful platforms. With more robust institutional support, there is immense potential to connect Ethiopian art with global networks.

Mulugeta Tafesse at his exhibition at the Modern Art Museum Gebre Kristos Desta Center, 2023. Photo by Ashenafi Mestika. Courtesy of Mifta Zeleke.

OM: How do Ethiopian artists, curators, and collectors in the diaspora connect with and contribute to the local art scene?

MZ: The absence of formal institutions that facilitate these connections limits the impact of diaspora contributions. However, artists like Julie Mehretu, Mulugeta Tafesse, and Aida Muluneh have made significant strides. Julie’s 2016 exhibition drew international attention, while Aida’s “Addis Foto Fest” has fostered the growth of talented photographers. Mulugeta Tafesse’s teaching and exhibitions have also provided strong foundations for emerging artists.

Many diaspora artists have had limited engagement with the local scene in recent years. The Ethiopian art community needs the contributions of its diaspora to grow. I've worked to bring artists like Engidaget Legesse, Mulugeta Tafesse, and Dereje Demissie back to Ethiopia to create platforms for collaboration. My efforts to re-establish the Guramayne Art Center aim to bridge the gap between the local art scene and the global art world. 

Mifta Zeleke conducting research at the Modern Art Museum Gebre Kristos Desta Center. Courtesy of EAMAN. Photo by Ashenafi Mestika. Courtesy of Mifta Zeleke.

OM: What impact has the 1-54 Contemporary African Art Fair, held in Marrakech, London, and New York, had on introducing Ethiopian artists to the global art scene?

MZ: My first experience with 1-54 was in 2015 when I co-represented Merikokeb Berhanu in collaboration with Art LabAfrica. While the reception was strong, it wasn’t as successful as we had hoped. At that time, Ethiopian and African artists were lesser known, but 1-54 has since become a major platform for African art, increasing the visibility of artists like Merikokeb Berhanu, whose works are now part of prominent collections.

1-54 Contemporary African Art Fair, May 1-4, 2024, New York. Photo: Omid Memarian, used with permission.

It’s exciting that 1-54 came to Marrakech recently, but expanding to more African countries would create a stronger impact. Kenya, for example, is becoming a hub for contemporary East African art. Hosting such fairs in Ghana, Senegal, or South Africa could help address the challenges many African artists face in gaining global recognition. While it may be difficult to host such fairs in Ethiopia at the moment, other African countries could benefit from these events.

Overall, 1-54 has been an impactful platform that continues to contribute to the development of contemporary African art.