Preserving the Essence of Piyassa Through Our Photography
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As we sit here, lost in thought about the recent tearing down of Piyassa, our hearts feel heavy with a whirlwind of emotions. It's hard to believe that some of the streets we used to wander and capture in our photos will now only exist in our memories. It's like a mix of sadness, nostalgia, and a whole bunch of other feelings that we can't quite put into words.
Image By Geremew Tigabu
Piyassa meant so much more than just a place to us. It was like the beating heart of stories, a source of inspiration, a place where we create art and a lively community that we were lucky enough to be a part of. The buildings, the people, everything had this timeless charm that we aimed to capture and hold onto through our photography. Every capture is like a piece of history, capturing the true essence of the people and the spirit of Piyassa.
Image By Abinet Teshome
Now, as we witness the physical changes taking place, it's natural to feel a sense of loss and nostalgia. But in the midst of all this, let's take a moment to appreciate the incredible value of the work we've done in our generation. Our photos aren't just pictures, they're living reminders of a place that was bursting with life and energy. They hold the stories of everyday life in Piyassa, preserving those precious moments that define a community.
Image By Tsion Haileselassie
Let's at least find comfort in what we've achieved. Our photography has allowed us to capture the fleeting beauty of Piyassa, preserving the very essence of a place that will never be the same. It's like we've created these little windows to the past, giving future generations a glimpse into the soul of a neighborhood lost to progress.
Image By Abeyo Nibret
These are a few from of course many more photos from our incredible journey through Piyassa. These images are more than just pictures ; they're a reminder that our art goes beyond physical structures. It's a way for us to express those intangible emotions and bring to life the stories that are woven into each picture. Through our images, I truly believe that we've become the keepers of Piyassa's legacy, entrusted with the incredible responsibility of preserving its memory for those who come after us.
Image By Sehin Tewabe
So, let's find strength and gratitude in knowing that our photos have become an important part of history. They're a testament to our creativity, our passion, and our deep connection to the places we capture. By sharing these images, we're ensuring that Piyassa will continue to live on, not only in our hearts but also in the hearts of everyone who gets to experience our work.
Image By Amanuel Tsegaye
With sincere respect and admiration,
Image By Noela Roibas
More photos of Piyassa,
My first solo exhibition: my experience
Sehin Tewabe
Addis Abeba, Ethiopia
Lalibela will always have a special place in my heart, the city my father is from. I grew up longing for the summertime so we could visit family and witness the grand annual festival- Ashendiye. Cultural dances and songs are the trademarks of this celebration. To observe this holiday, young girls and women dress in traditional clothing decorated with long grass tied to their waists. They group themselves based on age and go house to house, singing traditional and praise songs to the people in their villages. The celebration marks the end of a 16-day fast commemorating the Dormition and Assumption of Mary. It’s observed in most Northern Ethiopia cities and Eritrea, such as Mekelle and Asmara respectively. It goes by different names, but cultural attire adorned teenage girls and women dancing traditional dances and men offering gifts/money for their performances is the festival's signature. For these reasons, the festival is regarded as women’s day and one of the biggest annual festivals in Ethiopia.
My passion for photography peaked when I was about 16, so I started photographing Lalibela and the Ashendiye celebration anytime I went. My siblings and I have attended the festival almost every year since we were kids. I have been an observer and a participant in the festival, wearing the finest cultural dress. In due time, I realized I had a decent amount of archives, so I expanded my collection of images by using better equipment and practicing all the new things I had learned about photography. In addition to my personal attachment to this project, I decided to fully commit to documenting the Ashendiye celebration because it needs to be publicly shown and properly documented enough.
Bete Giorgis, Lalibela. August 2022
The whole process (traveling, shooting, printing/framing, scouting for locations, and planning the details such as installation and catering) is very tiring and unmotivating, especially when navigating independently with no institutional support. Nonetheless, as a creative, when things get complicated and overwhelming, the desire to showcase your work and tell the stories you believe supersedes any obstacle you face.
Once I settled on photographing the celebration, it was time to work out the details and logistics. I wanted to fund the project myself if I found a space willing to collaborate on a deal that benefits both parties. My friend and I started collecting proformas for the required services, so we calculated the total amount needed for the exhibition, including travel to Lalibela, which was about ~ 57,000 ETB in total. I was fortunate to have freelance gigs that allowed me to set aside funds for the exhibition.
Experience at Lalibela
The photographs included in Ashendiye in Lalibela exhibition are a product of two trips, one in 2019 and one in 2022. I used a Nikon d3200 with a kit lens for the former and my Sony Alpha 7iii with a 50mm prime lens for the latter. During my trip, I had a wholesome experience of visiting family and celebrating the graduation of my cousin, Seble. Her father, Anteneh, is much like my father- a man of few words, but any time spent with him is a calming experience. During my stay, I had dinner with him, his wife, and Seble and enjoyed my time with them; attending Seble’s graduation made my stay in Lalibela extra special. To commemorate the occasion, I took her much-needed portrait photos in their backyard, and it was such a pleasure to do it. During the celebration, I also tried my first Tella, a traditional Ethiopian beer. All in all, I had a great bonding time with my extended family.
Seble Anteneh at their home, Lalibela 2022
My attachment to Lalibela informed how I chose to frame my photographs, and my wonderful experience with my family made me feel right at home. Most importantly, since I was very familiar with the city and the celebration, I was able to capture everything I had on my shot list. My sense of comfort and familiarity allowed me to photograph the festival with a unique and insightful perspective.
Curatorial and Exhibition-making process:
The material you use is critical when exhibiting your artwork but often disregarded. It can affect how people view your work and how they experience it. So, I wanted to do something different than the norm and chose to print on canvas instead of the standard photo print with a glass frame. Canvas print was an easy but tough choice as a material to use for the exhibition. It is rare in Addis, so quality and price are difficult to balance. I had a couple of options to consider, which made me realize how we have a shortage of affordable spaces for creatives to create and experience art.
The first option was Print and Frame, well-known for its canvas prints. They have expanded and have an exhibition space, Kikundi Gallery, at the Hilton Hotel. I asked for their proforma for the sizes and quantity of photographs I wanted, and the first price was 51,000 ETB for five prints of 80x60cm and 15 prints of 50x35cm- completely outside my creative person's budget. So, I shared that with the Print and Frame team and asked the price only for the Print in gallery wrap, no frame. The price went down to 32,000 ETB, and I was open to considering that. They had also given me another offer that would allow me to have no cost of printing and framing if I chose to showcase at Kikundi Gallery; however, they would take 50% of my print sales. So far, it sounded like a great deal, but I took a closer look at the contract, and the 50% split is after 15%VAT is taken out of the sale. I would also pay a 30% income tax based on Ethiopian law. This might be manageable if you are pricing your artwork high enough to compensate for the income tax and VAT, which many galleries and artists do, but I wanted to keep my prices reasonable and was unsure if I wanted to sell. Hence, if I went with that deal my share from the sale of the photographs would be minimal.
Though an intriguing offer, I had to look elsewhere to retain a better option. I found Digital Impressions to be reasonably priced and of excellent quality. Their price was 24,000 ETB for all my printing needs, and I went to Girma Frame for framing (8,500 ETB) to elevate the viewer's experience with the photographs. After deep contemplation and seeking advice, I went with Digital Impressions to print and Girma Framing for frames because that was the best economical option for me, costing 32,500 ETB.
Canvas prints from Digital Impressions
In addition, my principal and initial goal with this project was to exhibit and amplify the festival itself. I was less concerned with selling the photographs and more focused on finding an affordable path to show my work. Yet, after understanding the cost of exhibiting, I found reasonable prices for my photographs for those who would like to take a piece of Ashendiye in Lalibela.
Before deciding on Red Door Gallery as a venue, I scouted other options, such as Fendika Culture Center, Kikundi Gallery, and the gallery space at Alliance Éthio-Français. I created a strong exhibition proposal and shared it with each of them. I contacted the owner of Fendika, Melaku, through a mutual friend, and he told us the space was booked for the year. It was my first choice as the venue is very sought-after in Addis and receives impressive engagements from foreign tourists and locals. I contacted Alliance Éthio-Français through an artist friend who had exhibited there. The exhibition team did not accept my work as they believed it was not secular enough for their space.
I knew Red Door Gallery was the one because I adored the gallery space, and they were willing to collaborate with me and gave me a good agreement. The gallery manager, Tamerat, is a well-known painter who has exhibited abroad and locally. Tamerat being a fellow artist, helped us understand each other and reach a fruitful agreement for both of us. Tamerat was extremely helpful, easy to converse with, and made the process as convenient as possible for me. And at the time, they had paused hosting exhibitions due to budget cuts, but I proposed to cover all costs, including hanging the art, refreshments, and flier design. Tamerat happily agreed, and their only request was for the exhibition poster to have a red background in order to align with their brand and for no alcohol at the event. More importantly, the only commission they would take part in was if I made a sale to the residents (diplomats living in the building), only then I would give them a fair percentage of the sale.
Once I locked that in, I began curating the exhibition with a close creative friend of mine. I wanted the collection to show the full spectrum of the festival, such as the participants of Ashendiye getting ready and traditional dance performances at one of the Rock-Hewn Churches, so I created a shot list and chose the images accordingly. The first draft of the collection had about 50 images I edited and organized in Lightroom. We printed those in small photo album sizes of 20x30cm so we could put them on the office wall to compose the photographs. The curatorial process was collaborative, so I asked a few friends for feedback about how I ought to curate the photographs.
Curating process at the Office.
Prepping for Opening Day :
It is unusual for the artist to be responsible for refreshments and marketing if you show at a gallery. Still, because of my particular agreement with Red Door Gallery, I had to find them on my own. Initially, I had thought of Arada as a sponsor, but since one of the conditions for the gallery was no alcohol, I simply bought the soft drinks myself. For the catering, I chose Sol Foods. I was introduced to them through Zion Yaynu’s art exhibition. They were catering her event, and I loved the presentation and quality of the food. Zion had already told me they were great people to work with, had excellent communication, and were willing to work within your budget. The initial proforma was for 21,000 ETB, but they were able to help me adjust the menu to fit my budget and settle for 11,500 ETB.
Catered by Sol Foods, Opening day.
The exhibition was initially slated for October 29 but was pushed to open on November 7th and lasted for a month. I had to reschedule because the day before I announced the dates for my exhibition, after printing all promotional materials I might add, Rophnan’s concert date went public, which ended up being on the same day as my opening day.
Installation day.
Opening Day
At last, the exhibition day arrived. I was apprehensive and nervous. It took a lot of work to put everything together, and I felt overwhelmed by the idea of hosting my first solo exhibition even after I had poured so much into it. I also feared no one would show up. This is common among creatives when they first introduce their work to the world. For the kind of person I am, an introvert that would like to speak through her photographs, engaging with people during the exhibition was intense. However, I managed it well because I was surrounded by family and close friends who knew me well enough to make the experience as seamless as possible. I had an opening day event where I made a list of about 80 people from my circle and special Instagram followers/supporters and invited them personally. The turnout for the run of the exhibition was gratifying; people came out to support and engage with the photographs, and the feedback was excellent and constructive. Overall, it was a successful exhibition. I had spent about 57,000 ETB and could sell seven prints for 59,000 ETB. Even though the profit wasn’t big, it was more than enough for me because my intention and priority was to exhibit my work. At that time, I was focused on the idea that organizing a solo exhibition fully funded and managed by myself could open doors for me.
Experience after the exhibition:
The experience of organizing and funding my first solo exhibition was a wholesome and rewarding journey. I learned a lot about the exhibition-making process and made great connections. It changed my view of photography; I am more intentional and selective of who and what I choose to photograph. It was successful in the sale. It’s a great feeling to know someone thought my photographs were important enough to have in their homes.
After the exhibition, I reached out to Temsalet Kitchen (a woman-owned cultural restaurant around Sarbet) and asked if I could hang my art there for people to enjoy and have the option to purchase. I also had the photographs on my website, and a few people had reached out to request a sale.
Temsalet Kitchen.
I am proud of myself for pulling through and making this happen. I have gained confidence in my work, and other people now respect it more than they did when I had no solo exhibition record. Through this experience, Tamerat from Red Door Gallery recommended I apply for an exhibition call at Art of Buna, a gallery in Germany. I submitted Ashendiye in Lalibela and it got accepted. I will be showcasing in May 2023, an excellent opportunity for me as an artist to showcase my work abroad, connect with people and showcase the festival of a city I love very much.
To my fellow Artists,
If you have the passion and the willingness to learn, you can always start small. Your gear and financial status don’t have the power to limit you; only you can limit yourself . Always be consistent with your work; it will take you places. Don't change on people when you get to a higher position, and surround yourself with people that are as eager as you so you can influence each other.
Here is a short list of my do’s, don'ts, and must-haves.
Do’s
Location of the venue is really important (think about that a lot).
Think about why you’re doing it and your motive, then choose the venue that best fits your intention.
Your exhibition needs to have a theme.
Have a clear conversation with your vendors (about pricing and responsibilities).
Have a good marketing strategy ( I didn’t do that )
Document your exhibition day
Curate your exhibition according to your theme and intention
Read your contracts with your service providers and venue managers with great attention and care.
Have’s
Have someone experienced to help you out during the curation process.
Involve family, friends, and acquaintances when planning your exhibition. They will support you.
Have a press. Press Is an important ally for communicating your exhibition. Both parties will profit from that. The press needs exciting stories, and you can reach audiences outside of your scope. Make sure it aligns with the kind of marketing strategy you want to have or how you want to approach your exhibition.
Don'ts /Avoid
Avoid days/weekends that have significant events. Choosing the right day/weekend will impact your visibility and attendance.
My deepest and sincere gratitude to..
all of the people that have helped me organize this exhibition. I appreciate each of you and will forever cherish the memories made during the run of the show.
Red Door Gallery
Tamerat Siltan ( Manager at Red Door Gallery )
My behind-the-scenes team ( Abinet Teshome, Loza Tewabe, Betelhem Weldegebriel , Amanuel Assefa, Mahlet Seyoum, Mahider Seyoum,everyone who bought my work aswell and everyone who helped me out in this process )
Girma Framing ( Frames )
Sol foods ( catering )
Digital Impressions ( Canvas, business card, and exhibition card prints )
Directory contact for all vendors I used
Red Door Gallery - (Tamerat Siltan ) 091 260 4521
Girma Framing - 091 194 9901
Digital Impressions - +251 11 515 2455
Catering services (sol foods) 091 052 4899
Written by Betelhem Weldegebriel