Ethiopia To Make Venice Biennale Debut With Tesfaye Urgessa's Unapologetic Paintings

Encountering the work of Ethiopian artist Tesfaye Urgessa is an all-encompassing treat for the senses. His paintings may not sing, nor do they evoke a certain kind of smell but visually, they make just as good poetry as they do a figurative masterpiece. Making artwork that pulses with life and love through the mirrored thematic lens of race, migration, displacement and identity politics is what Urgessa does best, and it's clear that - despite his abundance of references - Urgessa is not to be confused with any other artist of his generation, for his style is entirely his own. When you piece all this together (or just bathe in the pleasure of standing face-to-face with one of the artist's large-scale, mural-like works) it becomes clear as day as to why the Saatchi Yates-represented artist was chosen by the Mayfair gallery, the Ministry of Tourism in Ethiopia and the Embassy of Ethiopia in Rome to represent the hotly-anticipated debut of the Ethiopia pavilion at this year's La Biennale di Venezia, following the theme Foreigners Everywhere.

Urgessa's distinctive artistic language connects Ethiopian iconography with a profound fascination for traditional figurative painting, of which German Expressionism influence takes complete ownership (onto this later). As the ghost of Otto Dix hangs heavy in the balance (think more his Portrait of the Journalist Sylvia Von Harden over his Dix engravings - barbarism at its finest), so do the harsh, uncompromising lines of Erich Heckel and the sumptuous glow of a Max Pechstein or Franz Marc painting. Although these influences may not directly link to the themes Urgessa's work is categorised under, they are paramount in understanding Urgessa's way of using traditional figurative painting as a vehicle to themes of race and identity politics within domestic settings; all of which heavily influence the artist's work.

In keeping with this year's grand exhibition theme Foreigner's Everywhere, Urgessa's work will form part of a larger series titled Prejudice and Belonging, which will be exhibited at Ethiopia's pavilion and 'as the title suggests', Urgessa tells me 'evolves around the concept of belonging, beyond the disparities in culture, religion, and social structures'. Recalling the process Urgessa underwent while preparing for this show, he noted: 'While painting, I pondered questions like: "How long does it take for a foreigner to achieve a sense of belonging?". "Does the term "foreigner" hold the same weight for everyone, or does it vary based on one's racial background?". "Is it equivalent to be a foreigner as a Westerner living in Africa, compared to the other way around and what are our prejudices towards them?".

Born in 1983 in Addis Ababa, Ethiopia, Urgessa's first real try at art saw him attend the Ale School of Art and Design at Addis Ababa University under the guidance of modern minimalist master Tadesse Mesfin. Addis Ababa is a key influence for Urgessa not least because it's his place of birth but because he can paint freely and honestly there, proven by the very notion that the city continues to serve Urgessa now, where he's currently based. However, for a long time, the artist found himself in Germany, continuing his studies at the Staatlichen Akademie der Bildenden Künste Stuttgart and so despite Mesfin's influence, It was Germany that really stroked the artist's stylistic desires as realised via the country's renowned artistic heritage and identity that has slowly helped shape Urgessa's own, hence the influence of many key painters to the German Expressionist movement.

Reflecting on his experience in Germany as a student and graduate in relation to this year's Biennale theme, Urgessa noted: 'Drawing from my 13-year experience of living in Germany, I understand first-hand how encountering prejudice as a foreigner can hinder one’s journey towards acceptance within a community. This journey is often hindered by preconceived notions about intelligence, skills, and trustworthiness, rooted in prejudice'. Although you don't necessarily need to show the receipts of a first-hand experience to provide reason for why you should represent a nation's pavilion at this year's Biennale, it certainly helps, particularly if that country has never been included in such a world art spectacle before. Urgessa's talent also helps, of which no doubt the artist has an abundance of, however, it's best to refrain from diving into detail; his intensely explosive large-scale paintings are better left to be felt rather than described. Only then will you be made aware of the voyeuristic thread laced throughout his work. 'Through my paintings, I aim to evoke a sense of being observed, scrutinised, and potentially prejudged in the minds of viewers', Urgessa continued. 'By creating an atmosphere where the audience feels under scrutiny, I hope to provoke introspection and reflection on the nature of perception and judgment. This intention prompts viewers to confront their own biases and preconceptions as they interact with my artwork.'

The curator of Urgessa's Prejudice and Belonging show at this year's Ethiopian pavilion is award-winning author and broadcaster Lemn Sissay OBE FRSL who was also keen to note the country's ties with art and culture. In a statement to press, Sissay opined: 'It is a great day for Ethiopia and Venice that this is the first Ethiopia Pavilion at La Biennale di Venezia 2024. Art is deeply rooted in Ethiopian culture from the coffee ceremony to the ancient Christian iconography. Contemporary Ethiopian art is rising in prominence and stature throughout the world. It is evident in music, in literature, in photography and in art. Tesfaye Urgessa is the artist on the crest of this wave. Come to Palazzo Bollani, take a closer look and enrich your world.'

Indeed, Sissay is right. If you were to make the trip to La Biennale di Venezia 2024, your world would be all the more richer for experiencing Urgessa's spellbinding work the good old fashioned way: up close and in the flesh. It truly doesn't get better than that.

The Ethiopia Pavilion is commissioned by the Ministry of Tourism of the Federal Democratic Republic of Ethiopia. The commissioner of the pavilion is Demitu Hambisa Bonsa, Ambassador Extraordinary and Plenipotentiary of Ethiopian Embassy and Permanent Representative to FAO, WFP and IFAD in Italy, Rome.

La Biennale di Venezia 2024 Foreigners Everywhere officially opens to the public on 20 April and will remain on show until 24 November.