Curating Against the Odds: The Struggle to Sustain Ethiopia's Art Ecosystem
Author: Dagim Abebe
Introduction
Art has to be considered the soul of this nation since it is a powerful mirror that reflects its history, struggles, and aspirations. In Ethiopia, a country with a cultural heritage spanning thousands of years, art has been transmitted in different forms from generation to generation, consisting of oral traditions, performance and other forms of art practice. The roles of curators are crucial in preserving, interpreting, and promoting artistic legacy in different platforms. Yet, curators are trying to navigate a precarious landscape - one shaped by historical upheavals, economic instability, and institutional neglect.
Unlike in many other countries where curatorial studies are well-established disciplines, Ethiopia lacks formal training programs for curators in the homegrown institute, leaving passionate individuals to learn through experience and sheer determination. Meanwhile, dwindling art spaces and the closure of vital galleries have further weakened the fragile ecosystem that once supported artistic expression. The absence of consistent institutional backing - both from governmental and private sectors - has made it even more difficult for curators to sustain exhibitions, engage with audiences, and foster critical discourse around contemporary Ethiopian art.
Despite these challenges, a few Ethiopian curators continue to push forward, creating platforms for dialogue, innovation, and artistic preservation. Their resilience is a testament to the enduring power of art in the face of adversity.
The Role of Curators in Ethiopia
Curators are the architects of shaping artistic and cultural dialogue. They shape narratives, challenge perspectives, and create spaces for artists to thrive. In Ethiopia, their role extends far beyond exhibition-making. They have to educate, mentor, and advocate. Despite this, curators are often working in isolation with endless fights to sustain and uplift the country's art ecosystem. In the absence of formal curatorial education and institutional support, Ethiopian curators operate in an environment where resilience and ingenuity become necessities rather than choices. However, curatorial development for future generations who may follow in their footsteps is not a central focus of existing curators. Therefore, the process of learning also remains elusive in this sense.
Unlike in other global art capitals where curators are formally trained and have access to extensive resources, emerging Ethiopian curators must navigate their profession without fragmented opportunities - occasional workshops, short courses, and hands-on experience. The lack of structured training not only limits their ability to compete on an international stage but also stifles the development of a strong, theory-driven curatorial practice within the country. Without critical discourse and institutional backing, curators are left to forge their own paths, often relying on personal networks and self-directed learning to build exhibitions and foster artistic conversations.
Yet, despite these challenges, some curators have managed to carve out a niche in the contemporary art world. Through sheer determination, they have introduced Ethiopian artists to audiences, facilitated crucial artistic exchanges, and cultivated new spaces for dialogue. Their work is a testament to their passion and adaptability, but it comes at a cost. Many operate without stable funding, without access to archival resources, and without the institutional support necessary to build sustainable careers. As a result, curators often bear the burden of preserving and promoting Ethiopia's artistic legacy with little recognition or security. On the other hand, all the burdens are shared by the artist to fulfill the needs and have to work on the gaps created by a shortage of curators.
The urgent need to address these structural gaps cannot be overstated. If Ethiopia is to nurture a thriving art scene that is critically engaged with both its own history and the global contemporary discourse, curators must be empowered with education, resources, and institutional backing. The role of a curator is not only about displaying art - it is about shaping collective memory, challenging historical narratives, and fostering a cultural consciousness that extends beyond the gallery walls. Investing in curatorial education and infrastructure is not a luxury, but a necessity for the future of Ethiopian art.
A Fragile Ecosystem on the Brink
Running an art space in Ethiopia is sustained by passion rather than profit. Galleries and alternative art spaces serve as critical sites for artistic production, dialogue, and cultural exchange, yet they operate under immense financial strain. The costs of rent, utilities, exhibition materials, and staffing are prohibitively high, while revenue from art sales remains unreliable. Unlike in other parts of the world where galleries benefit from public funding, private sponsorships, and an established art market, Ethiopian art spaces function with minimal institutional or governmental support.
Many gallery owners and independent curators are forced to rely on personal savings, sporadic grants, or maybe international donors to keep their doors open. This financial instability makes long-term sustainability nearly impossible, leading to a cycle where art spaces emerge with promise but struggle to survive beyond a few years. The closure of key spaces in Addis Ababa, such as Netsa Art Village, Guramayle Art Center, and Asni Gallery, LeLa Art Gallery, underscores the severity of this crisis.
Perhaps one devastating example of this struggle was the demolition of Netsa Art Village by the government in 2014. Founded by eleven artists most of them are graduates of Addis Ababa University, School of Fine Arts and Design in 2008, Netsa was a vital cultural hub that provided artists with studio spaces, hosted experimental exhibitions, and nurtured a community of creative minds. Its impact extended far beyond the walls of its exhibition space, offering residencies, workshops, and public programs that fostered a dynamic exchange of ideas.
© Netsa Art Village, Date Uknown, courtesy of Netsa Art Village, Addis Ababa, Ethiopia.
Netsa's closure was the loss of a space where artistic voices could develop, challenge conventions, and engage with broader audiences. The shockwaves from its disappearance are still felt today, as no institution has risen to fill the void it left behind. As noted by Contemporary And (2023), Netsa Art Village was a pioneering institution that redefined Ethiopia's contemporary art scene, and its closure represents a significant setback for the country's artistic ecosystem.
The disappearance of spaces like the Asni Gallery and Guramayle Art Center further illustrates the precarious state of Ethiopia's art scene. These venues once provided crucial platforms for experimental and contemporary art, allowing emerging artists to break free from commercial constraints and explore new ideas. Their closures point to a deeper structural issue: the lack of a sustainable cultural infrastructure capable of supporting artistic initiatives.
When a gallery shuts down, it is the collapse of an entire network of opportunities for artists, curators, and audiences. Each closure represents the erosion of Ethiopia's artistic ecosystem, making it increasingly difficult for new generations of artists to find exhibition opportunities, engage in critical discourse, or build sustainable careers. As highlighted by MoMAA (2023), the financial and institutional challenges faced by Ethiopian art spaces are systemic, requiring urgent intervention to prevent further decline.
© Asni Art Gallery, 2021, courtesy of Konjit Seyoum, Addis Ababa, Ethiopia.
Despite these challenges, individuals like Konjit Seyoum, an artist, curator, and owner of Asni Gallery, and Mifta Zeleke, a curator and owner of Guramayle Art Center, have demonstrated remarkable resilience. Both have transitioned into roles as independent curators, continuing to shape and influence Ethiopia's art scene. Their efforts highlight the enduring spirit of Ethiopia's artistic community, even in the face of systemic neglect and financial insecurity.
In many countries, the arts thrive under a well-structured support system that includes government funding, private sponsorships, and cultural policies designed to sustain artistic expression. Museums, galleries, and cultural centers receive grants, tax incentives, and subsidies to ensure that creativity remains an integral part of society. However, in Ethiopia, the art sector operates in a near-total vacuum. There is little to no government funding for the arts, no dedicated cultural policies to protect artistic spaces, and maybe only minimal private investment. The absence of institutional backing places an overwhelming burden on curators, gallery owners, and artists, who are left to navigate an unsustainable system where financial distress is the norm.
Without state support, the responsibility of sustaining the Ethiopian art scene falls on individuals who often sacrifice their own financial stability to keep artistic initiatives alive. Many curators and gallery owners function as both cultural workers and financial backers, pouring personal resources into maintaining spaces that serve the greater artistic community. This model is not only exhausting but ultimately unsustainable - without external funding, even the most ambitious art spaces eventually collapse under the weight of financial constraints.
© Netsa Art Village, Date Uknown, courtesy of Netsa Art Village, Addis Ababa, Ethiopia.
The lack of cultural policies to protect and promote art spaces exacerbates this crisis. In countries with robust arts policies, governments intervene to preserve cultural heritage, provide funding for emerging artists, and ensure that art remains accessible to the public. In Ethiopia, no such mechanisms exist. There are no laws in place to safeguard galleries from skyrocketing rents or the threat of commercial redevelopment. Without legal protections, cultural spaces remain highly vulnerable, often forced to close as urban development encroaches on the few remaining artistic hubs.
This policy vacuum has created a shrinking landscape for creativity, where art is pushed to the margins of society. Galleries and independent art spaces struggle to secure long-term leases, making it nearly impossible for them to establish stability or plan for the future. When a gallery closes, it is not just a loss for artists - it is a loss for the public, for cultural discourse, and for the preservation of Ethiopia's artistic identity.
While Ethiopia's galleries struggle to stay afloat, the country's museums face an equally pressing crisis: outdated and ineffective display practices that fail to do justice to Ethiopia's rich cultural heritage with overcrowded space display. Museums should serve as bridges between history and contemporary society, offering immersive and educational experiences. Yet, many Ethiopian museums suffer from neglect, inadequate curation, and a lack of resources to modernize their exhibition spaces.
Visitors to these institutions often encounter poorly lit galleries, disorganized collections, minimal signage, and a near-total absence of interpretive materials. Labels are often sparse, offering little context or background information, and exhibits lack the interactive elements that could make history come alive. As a result, rather than inspiring curiosity or deep engagement, many museum visits feel passive, leaving both local and international audiences disconnected from the country's rich artistic and historical legacy.
A stark example of these challenges is the National Museum of Ethiopia in Addis Ababa, home to some of the most significant archaeological finds in the world - including the fossilized remains of Lucy (Dinkinesh). While the museum's collection is undeniably remarkable, its presentation leaves much to be desired. Dim lighting, outdated display cases, and a lack of narrative structure diminish the impact of these priceless artifacts. Visitors walk past treasures of global importance with little guidance on their historical, scientific, or cultural significance. The absence of engaging, well-researched interpretation not only limits public interest but also weakens the museum's role as an educational and cultural institution. However, the museum is currently undergoing renewal. It is hoped that this process will address all existing limitations and provide effective solutions. Once completed, the impact of these changes will become clear.
Beyond aesthetics, the lack of conservation efforts also threatens the long-term preservation of these artifacts. Without proper environmental controls - such as humidity regulation, specialized lighting, and secure mounting - Ethiopia's invaluable historical objects risk degradation. International museums have invested heavily in cutting-edge preservation and display techniques, yet Ethiopian institutions struggle with the most basic maintenance due to chronic underfunding.
The issue is not simply one of aesthetics but of missed opportunities for education, cultural diplomacy, and national identity-building. Museums should be spaces where Ethiopians can engage with their past in meaningful ways, fostering a sense of pride and historical continuity. They should also serve as major cultural attractions for international visitors, contributing to tourism and global awareness of Ethiopia's contributions to civilization.
If Ethiopia is to cultivate a thriving art ecosystem, urgent reforms are needed. The creation of government-backed arts funding, grants for curatorial projects, and policies that protect cultural spaces could provide a foundation for long-term sustainability. Encouraging private sector investment in the arts - through tax incentives or public-private partnerships - could also help alleviate the financial burden on individuals.
Additionally, the establishment of an arts council or cultural institution dedicated to funding and advocating for the arts could be a transformative step. Such an institution could not only provide financial support but also create educational programs, research initiatives, and networking opportunities to strengthen Ethiopia's artistic infrastructure.
Art is an essential part of national identity, historical consciousness, and social progress. Without institutional support, Ethiopia risks losing its creative lifeblood. The time to act is now before more galleries shut their doors, more artists leave the country, and an entire generation of cultural workers is left without the means to sustain their practice.
Conclusion
Ethiopia's art and cultural heritage are at a crossroads. The challenges faced by curators, artists, and cultural institutions are immense, but they are not insurmountable. The resilience of Ethiopia's art community is a testament to the enduring power of creativity, even in the face of systemic neglect and financial instability. However, resilience alone is not enough. To ensure the survival and flourishing of Ethiopia's artistic legacy, urgent and collective action is needed.
From establishing curatorial training programs and increasing funding for the arts to protecting cultural spaces and fostering international collaborations, the path forward requires a multifaceted approach. Ethiopia's museums, galleries, and cultural institutions must be revitalized, not only to preserve the past but to inspire future generations. The time to act is now before more art spaces disappear, more artists leave the country, and an entire generation of cultural workers is left without the means to sustain their practice.
Art is a vital force that shapes identity, fosters dialogue, and preserves history. Ethiopia's artistic legacy is too precious to be lost. By investing in the arts, we invest in the soul of the nation, ensuring that its creative voice continues to resonate for generations to come.
References
Artnet News. 2023. "Art in Ethiopia." Accessed [March 10]. https://news.artnet.com/market/art-in-ethiopia-1605268.
Contemporary And. 2023. "Netsa Art Village." Accessed [March 10]. https://contemporaryand.com/institue/netsa-arts-village/.
Migrazine. 2023. "Netsa Art Village Legacy: Inhabiting and Creating Green Urban Spaces." Accessed [March 12]. https://migrazine.at/artikel/netsa-art-village-legacy-inhabiting-and-creating-green-urban-spaces.
MoMAA. 2023. "Contemporary Art Challenges in Ethiopia." Accessed [March 12]. https://momaa.org/contemporary-art-challenges-ethiopia/.
All views expressed in this article are the author’s own.
