Junge Kunst aus Äthiopien

In the late 1970s, there was a diplomatic rapprochement between Ethiopia and the GDR, which brought about a cultural agreement (1977). It included the agreement to strengthen interstate exchange also by means of art exhibitions.

Right at the beginning of the (cultural-)political alignment, the high-ranking SED politician Werner Lamberz went on a round trip through East African countries and also visited an art exhibition in the city hall of Addis Ababa. Documents preserved in the Federal Archives show that Lamberz was approached by the artists Ejigayehu Tesfaye, Martha Ketsela and the Demmelash Adal, who were participating in the exhibition. Supposedly, they approached Lamberz about the possibility of exhibiting and studying in the GDR. In the same year, Adal, Ketsela and Tesfaye traveled to Eastberlin to open the first exhibit within the framework of the cultural-political relations between the two states.

The title Junge Kunst aus Äthiopien (Young Art from Ethiopia) was intended to refer to more recent artistic developments in Ethiopia, which was reorienting itself politically - revolts by civil society against the ailing empire led to the founding of a socialist people's republic in 1974, which over time, however, developed into a violent military dictatorship. The painting Revolution No. 1, which the artist Demmelash Adal created in 1976 and which was purchased by the Ministry of Culture of the GDR, is probably also a reference to the mood of upheaval. Today it is part of the collection of the Art Archive in Beeskow at the Museum Utopie und Alltag.

In total, the exhibition included 65 works, mostly paintings and graphics. It was organized by the Ministry of Culture of the GDR and the Ministry of Culture and Sports of Socialist Ethiopia.

According to newspaper articles, the exhibition met with great interest among the Berlin public and represented a "contribution to the development and deepening of friendly relations between the GDR and Ethiopia." (transl. by Art in Networks, quot. after Drei äthiopische Maler stellen in Berlin aus, Nationalzeitung Berlin, 14.07.1978) The choice of words illustrates the recent diplomatic approach and the motive of the exhibition. This was also evident from a review by art historian Ariane Beygang:

"Today, the artists of the young republic are still searching for an independent style of art. In this regard, the government supports all efforts to cultivate the rich Ethiopian heritage and promote a revolutionary art. In this period of struggle of progressive forces against counter-revolution and profound social changes within the country, the lives of many Ethiopian artists are closely linked to the revolutionary present. The themes and motifs of many paintings reveal this." (transl. by Art in Networks, quot. after Beygang, Ariane: Gedanken über die Zukunft. Werke von drei äthiopischen Künstlern in einer Berliner Ausstellung, in: Neue Zeit, 25.07.1978)

During their stay, the artists had a tightly scheduled accompanying program. They traveled to various places in the GDR and visited different institutions and artist's studios.

Two years later, the artists Martha Ketsela and Demmelash Adal returned for an internship at the Dresden Academy of Fine Arts. Ejigayehu Tesfaye also visited the GDR again in 1980, and together they took part in the international biennial for graphic art, Intergrafik 80.