Between Worlds: Art, Memories and Informal Community Ties

This project is a continuation of my research into the interplay between informal and formal art institutions, street vendors, and indigenous social structures, particularly in the context of formal and informal economies in countries like Ethiopia. I am focusing on the relationship between art institutions and the state in Addis Ababa, Ethiopia. 

My goal is to explore potential collaborations between these two institutional frameworks and understand how informal economies can support informal art spaces. How can we harness the resources of informal economies to not only enrich them but also create a mutual benefit? What strategies can we employ to channel existing informal economies into the operations of formally registered spaces? Crucially, how can the state facilitate this process instead of suppressing it? Moreover, what existing avenues can be adapted or leveraged to achieve these goals? This is where the true ingenuity of the informal comes into play: finding ways to navigate around obstacles.

During my research in Addis Ababa, I discovered traditional and indigenous support systems that have sustained communities for centuries. Two notable examples are Edir and Equb.

Edir is a traditional association that operates as a voluntary social security and self-help group, providing mutual aid and support for burials and other community needs. In a context where formal social security systems are lacking, these indigenous structures serve as vital anchors within society, organizing support and helping individuals navigate grief and communal challenges.

This body of work weaves together two intersecting projects. One aspect revisits an earlier exploration of memory, the displacement of body and mind, and the impact of urban gentrification. 

When a grave is opened, it not only reveals what lies within but also uncovers the entire system of relationships that people have with their past and the value they place on it. By digging into this space, I aim to explore not just the physical remains but also the broader implications of what is being replaced in the name of progress.

This inquiry is intertwined with the effects of 'development,' which often manifests in the demolition and replacement of sites steeped in memory and personal experience. These intersecting narratives create a complex tapestry of memory that oscillates between the past and present.

Additionally, I incorporate the imagery of a tent, which symbolizes the traditional space where the family of the deceased stays for three days following a funeral. This element serves as a poignant reminder of the rituals and communal ties that help sustain cultural memory amidst the pressures of change.