How Ethiopian heritage and European Modernism shape Urgessa’s powerful commentary on displacement and belonging at the Ethiopian Pavilion at the 60th International Art Exhibition of La Biennale di Venezia, entitled ‘Stranieri Ovunque – Foreigners Everywhere’ and curated by Adriano Pedrosa.
Tesfaye Urgessa. Courtesy of Tesfaye Urgessa and Saatchi Yates. Photographer: Kameron Cooper
Tesfaye Urgessa, an artist whose work deftly navigates the intersection of Ethiopian heritage and European modernism, has been significantly shaped by Ethiopian modern master Tadesse Mesfin. Early in his career, Urgessa’s artistic practice was rooted in Ethiopian traditional church paintings, expanded through the guidance of Mesfin and other influential figures like Bisrat Shibabaw and Mezgebu Tessema. Their mentorship fostered Urgessa’s discipline and skills, which he later enriched by drawing inspiration from German Neo-Expressionism and the London School of Painters, notably Lucian Freud. Urgessa’s oeuvre powerfully addresses themes of displacement and cultural identity, reflecting his migration experiences and the complexities of navigating new cultural landscapes. His recent exhibition at the Venice Biennale’s first Ethiopian pavilion, titled “Prejudice and Belonging,” delves into these issues, presenting figures embodying resilience and the struggle for acceptance amidst prejudice, thus inviting viewers to confront their biases and perceptions.
ART AFRICA: Ethiopian modern master Tadesse Mesfin has guided your artistic practice, intertwining Ethiopian iconography with German Neo-Expressionism and the London School of Painters. Please tell us more about this.
Tesfaye Urgessa: When I was very young, I began my artistic journey by copying Ethiopian traditional church paintings, icons of saints, and angels. These were the only artworks available to me then, and their influence remains with me today. During my later years at the Ale School of Fine Arts and Design, I took a composition course directly from Tadesse Mesfin, which has been very important to me throughout these years. However, Bisrat Shibabaw and Mezgebu Tessema laid the foundation for my painting skills and instilled in me the discipline to pursue them. They were my major influences and close instructors during that time, serving as my first gateway into the world of painting more than anybody else. At some point, I had to look beyond the local art scene and include more influences, like the German Expressionists, who fascinated me with their perception of the correlation between the human figure and the emotions it implies. Then, after I arrived in Germany, I rediscovered the London School, which I hadn’t been particularly interested in earlier but found very captivating—especially Lucian Freud.
Tesfaye Urgessa, Lineage Frost, 2023. Oil on canvas, 248.5 x 248cm (Diptych). Courtesy of the artist.
Your work has become a powerful means of expressing the complexities inherent in displacement and cultural identity. Can you talk about this in the context of Tadesse Mesfin’s broader practice?
Generally, my main focus is on understanding human nature, including our strengths and fragility, as well as other contradictions within us. One of the things that makes us both fragile and strong is how fear and ignorance interact. Throughout history, people have always migrated, and this movement has shaped the world we live in today. These migrations are unstoppable, even if they cause discomfort for some. Everyone should be free to work and live wherever they choose, which is essential for our progress as a society. Through this freedom, we can come together as one and belong together. For the Venice Biennale, I decided to focus on a specific aspect of our challenges: the prejudices that foreigners face in new places, which often make it difficult for them to feel like they belong.
Installation view of ‘Prejudice and Belonging’. Courtesy of the Ethiopian Pavilion.
‘Prejudice and Belonging’ reflects your lived experiences of migration – during which time you studied and painted in Germany for thirteen years. How does his exhibition reflect on this and the broader biennale theme “Foreigners Everywhere”?
The exhibition for the first Ethiopian Pavilion at the Venice Biennale at Palazzo Bollani predominantly showcases large-format oil on canvas paintings. Despite this year’s theme of “Foreigners Everywhere” not being new to me, as I have previously explored it from various perspectives in my artwork, I felt compelled to delve deeper into the issue. I realised the importance of studying my past works and other resources to gain a better understanding. I understand firsthand how encountering prejudice as a foreigner can hinder one’s journey towards acceptance within a community which challenges acceptance by preconceived notions about intelligence, skills, and trustworthiness rooted in prejudice. One enduring issue faced by black individuals worldwide is the perpetuation of negative stereotypes by Western narratives. These stereotypes create barriers that hinder their sense of belonging and divert their energy towards disproving misconceptions rather than personal growth and achievement. Conversely, white individuals in foreign lands often benefit from positive assumptions about their affluence, sophistication, and attractiveness. This pre-established image works in their favor, facilitating a smoother integration process. To convey this challenge, I aimed to create a group of figures in an undefined situation, engaged in unknown activities and intentionally ambiguous to the viewer. This approach aims to immerse the viewer in an intimate space that feels familiar to the figures depicted but utterly foreign to the viewer, as if they’ve stumbled into a strange realm under the gaze of others. I wanted to evoke a sense of being observed, scrutinised, and potentially prejudged in the viewers’ minds as they see my paintings. I want to provoke introspection and reflection on the nature of perception and judgment by creating an atmosphere where the audience feels under scrutiny. This intention is prompting the viewer to confront their prejudices and preconceptions as they interact with my artwork.
You have mentioned that audiences assume you are painting victims when, in fact, you are not. Can you tell us more about your approach to the subjects in the exhibition?
It is essential to present my figures in their entirety, with every facet and attribute. I want to give the feeling that these figures have endured experiences and have triumphed over them. It’s similar to observing a lion’s face, etched with scars—these are not mere symbols of defeat, but of survival and resilience. I prefer my figures to stand with unwavering confidence, embracing their vulnerabilities. I want to reinforce the notion that, regardless of past struggles or current and future challenges, they will continue to thrive and persist. I seek to capture and celebrate this embodiment of strength and perseverance in my work.
Tesfaye Urgessa, Love and curse, 2023. Oil on canvas, 249 x 248.5cm (Diptych). Courtesy of the artist.
The Ethiopia Pavilion at the Venice Biennale marks a historic moment for Ethiopian art and culture. Several key figures have enabled Ethiopia’s representation at Venice this year. Can you expand on this?
For many artists from Ethiopia and me, this is a historic moment—it’s the first time our country has a pavilion at the Venice Biennale, and that’s a big deal. The exhibition has been a huge success so far, and I hope it inspires other Ethiopian artists to keep our artistic legacy alive and continue participating in the future. I am deeply grateful to the many individuals and institutions supporting this incredible journey’s realisation. First and foremost, I want to thank Saatchi Yates Gallery and its team for helping me in every possible way from the moment I proposed the idea of including Ethiopia’s first pavilion. I also want to thank the Ethiopian Embassy in Rome for their full engagement throughout the process and the Ministry of Tourism in Ethiopia for trusting me to represent our country. A special thanks to the ZECCA Foundation for their role as local producers, guiding us through every detail of the process, and to Lemn Sisay OBE, whose incredible energy and leadership as the pavilion’s curator were invaluable. I thank Ale School of Arts and Design for the support I initially needed. There are many others who supported me emotionally during difficult times and stood by me from day one. I am forever thankful to them all.
The Ethiopian Pavilion is on view until the 24th of November, 2024. For more information, please visit the Ethiopian Pavilion.
