262:, at David Krut Projects in New York, was created in 2016 and inspired by her grandmother. Muluneh digs deep down to her roots as an Ethiopian and gives birth to a humble 28-piece series of culture, space, politics, history, the present, and future in a modern artistic way, including photographs taken at Leghar train station in Addis Ababa of models with African and Ethiopian complexions, bodies painted in bright bold colors, and traditional African body paint. Muluneh reminisces on a time when she was not yet born but is instilled with her grandmother's words that "The world is a 9, it is never complete and it's never perfect." Muluneh stated, "Each work is a reflection of conscious and sub-conscious manifestations of time and space".
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non-Africans. "I wanted to build bridges between photographers around the world, not just Africa," said
Muluneh, whose own work has been exhibited in several major exhibitions abroad. At portfolio reviews and panel discussions, she shares what she learned from the African-American mentors who gave her opportunities in photography. And through the exhibitions and awards ceremonies at Addis Foto Fest, she hopes to amplify the voices of up-and-coming storytellers. "The festival is an expansion of my passion," she said. "You can fantasize about reaching your own goals but your legacy is always who you can be proud of, who you have passed the torch to." As Hannah Giorgis put it in
332:, a rural area in the north with extremely hot weather all year round. After witnessing countless women encountering great difficulty to fetch water for their families due to the lack of clean water near their home, Muluneh was determined to use the power of her artwork to address this contemporary issue globally. Muluneh emphasized how "each piece is a reflection in addressing the impacts of water access as it relates to women's liberation, health, sanitation and education." She pointed out that people failed to realize how privileged they are to have access to clean water compared to people in some parts of the world suffering from
148:, Ethiopia in 1974. She spent her childhood in Cyprus, Greece, the UK, and Yemen before settling in Canada in 1985. As a teenager, Muluneh attended Western Canada High School in Alberta, Canada. While there, she was on the school's basketball team and had aspirations of becoming a basketball star. She also thought of becoming a lawyer or excelling in a similar prestigious profession. These plans took an unexpected turn, when her art teacher opened up a disused
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photography initiatives administered through her nonprofit DESTA for Africa. Her efforts are centered on the activist conversation with photographers who have an interest in contemporary issues that affect the continent of Africa. Muluneh utilizes teaching as way to change the situation in her country at a local level. She encourages high-level instruction, student exchanges, and access to technology.
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series, Muluneh expresses full awareness of her present with a firm grip on her past and future. Author M. Neelika
Jayawardane's outlook agrees, "…somewhere in between nostalgia for the past and a future that has yet to come". In the photograph, a single woman represents the three stages of a woman's
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consists of several carefully staged portraits of a young woman who appears to be of
African descent. She is entirely covered in heavy paint and makeup that color her body and face white, and her hands are painted a dark red. The white paint gives the young woman the look of being a ghost or between
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and traditional
African body painting. She wears the colors of the Ethiopian flag proudly in a bright canary yellow head scarf that hangs before the front of her upper body and a bold long red dress. The woman stands strong and tall, centered in the middle of a pure white background. The white color
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Aida
Muluneh is the founder of DESTA (Developing and Educating Societies Through the Arts), which is an organization that seeks to develop opportunities in the global community for African artists throughout the diaspora. Muluneh returned to Addis Abba from abroad to create a series of educational
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Muluneh stated, "My work often starts with a sketch, and I approach each image as a film production in which the character, set design, lighting and styling come together. I utilize face painting as a form in which the inspiration is driven by body ornamentation, not only in my country, but also
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In 2019, Aïda became the first black woman to co-curate the Nobel Peace Prize
Exhibition, and In 2020, the Nobel Peace Prize was awarded to the World Food Program. To mark this momentous occasion, Muluneh created a collection that embodied her profound artistic vision. Specifically, focusing on
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told about Africa, which is the story of poverty, despair, and corruption. Every other
December since 2010, she has presented Addis Foto Fest (AFF), which has become the largest photography festival in Africa. She aims to use the festival as a catalyst to promote change within the minds of
228:, a biennial exhibition of global photography. The Addis Foto Fest aimed to bring photography, which had yet to be fully accepted as an art form, to the masses in the same way that photographic studios brought to the public an activity that was once seen as restricted to the
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International Award of
Photography, Photographic Curatorship 2010: Winner, International Award of Photography, Centro di Ricerca e Archiviazione della Fotografia (CRAF), Spilimbergo Fotografia, Italy. Edit 2007: European Union Prize, African Photography Encounters, Bamako,
232:. Several thousand people attended the exhibitions, aspiring photographers participated in workshops and portfolio reviews with established photographers, and new audiences found their way into galleries and cultural institutions for the first time.
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Muluneh's work also primarily features women due to her belief that there is power in the gaze of a woman. By utilizing subjects that are primarily women, Muluneh is able to share her experience with the world. In an interview with
336:. Inspired by her Ethiopian culture, Muluneh incorporated traditional elements like clothing and face paint with bold colors into her photographs to raise awareness and advocate for changes in regions with water scarcity.
160:, and enjoyed painting in his spare time. He saw something in her work and told her to continue to work as an artist, rather than putting off her passion as a hobby. She received her BA in film, radio, and television from
305:, "Muluneh is not modest about the endeavor: 'I am basically taking the past to the future,' she said of her mission to galvanize the work of artistic self-portrayal and help shape a new vision of the continent."
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life, the past, present and future. The woman's body is painted in a bright cerulean blue, with white dots going down the center of her face, following her neck and chest. These dots are symbolic of
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for his students and gave her a camera to use. Although
Muluneh began shooting photographs in high school, she did not imagine it as a career until her grandfather, who lived in
198:, Muluneh stated, "There's an expression that if you teach something to a man, you teach one person, but if you teach something to a woman, you're teaching the whole society."
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various parts of the world. I am deeply influenced by various traditional cultures, hence in a sense, I am bringing the past into the future through various forms."
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into her art photography work. The deep reds, blues, and yellows in her paintings can be seen from a great distance. The primary colors reference church
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Muluneh founded
Developing and Educating Societies Through the Arts (DESTA), through which she continues to facilitate and expand cultural projects.
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1368:"The paradox of water accessibility: understanding the temporal and spatial dimensions of access to improved water sources in Rwanda"
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174:, and since then, her work has been shown in several publications. She has since returned to Ethiopia and is based in Addis Ababa.
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113:) Ethiopian photographer, educator, and entrepreneur known for her Afrofuturist photography that incorporates vibrant colours and
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2010: Winner, International Award of Photography, Centro di Ricerca e Archiviazione della Fotografia (CRAF),
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1497:"'The testament to one's strength is determined on what we choose to do with the challenges that we face'"
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Osei, Lydia; Amoyaw, Jonathan; Boateng, Godfred Odei; Boamah, Sheila; Luginaah, Isaac (1 December 2015).
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International Award of Photography. In 2020, she was given the Award for Photographic Curatorship of the
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ceremony. This affirms the notion that Muluneh's photographs are about "transition and transformation".
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Muluneh's work recognizes the ability that images have to influence the world's perception of people.
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251:" series; Art work titled "The Departure". Used for the front cover of the 2018 UNESCO Global Report
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in Washington, DC. One of her pieces was selected as the poster picture for the traveling exhibition
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series. The series was first exhibited at David Krut Projects in New York. It was presented at the
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1342:"Ethiopian Photographer Spotlights Impact of Water Scarcity on Women | Voice of America - English"
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605:"Ethiopian Photographer Aida Muluneh's Body Painting Pictures Will Stop You In Your Tracks"
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The Divine Comedy - Heaven, Purgatory And Hell Revisited By Contemporary African Artists,
1407:"To upend perceptions of race, this artist explores face-painting traditions and masks"
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1:54 Contemporary African Art Fair, David Krut Projects Booth, Brooklyn, New York, 2016
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865:"Ethiopia's Acclaimed Photographer Aida Muluneh Uses Visual Art to Share Her Heritage"
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1304:"African Photographers and the Look of (Un)Sustainability in the African Landscape"
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Jayawardane, M. Neelika; Muluneh (2016). "Between Nostalgia and Future Dreaming".
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1251:"WaterAid commissions Aïda Muluneh to create work in the hottest place on earth"
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National Museum of African Art, Smithsonian Institution, Washington, DC, 2006
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Body of Evidence (Selections from the Contemporary African Art Collection),
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displaying how hunger has been used as a weapon of war throughout history.
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She is the founder and director of the international photography festival
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VivaneArt, Calgary, part of Alberta's Exposure Photography Festival, 2017
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955:"With Paint And A Camera, She's Forging A New Artistic Vision Of Africa"
43:
1221:"How This Ethiopian Photographer Is Giving Storytellers a New Platform"
981:"Aida Muluneh: Changing the Narrative on Ethiopia, One Photo at a Time"
897:"Aida Muluneh: Changing the narrative on Ethiopia, one photo at a time"
827:"Aïda Muluneh: founder and director Addis Foto Fest, Canada/Ethiopia"
287:. Xhosa men apply white clay on their face and bodies soon after the
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1578:"A World in Common: Contemporary African Photography | Tate Modern"
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In her photograph "The Past, the Present and the Future" from the
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Bajorek, Jennifer; Haney, Erin (December 2010). "Eye on Bamako".
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Gallery 44 Centre for Contemporary Photography, Toronto, ON, 2010
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in London. This series contains 12 distinct photographs taken at
744:"Watch: 'Nterini' from our next cover star, Fatoumata Diawara"
195:
1607:
1130:"AIDA MULUNEH | The World is 9 | David Krut Projects | Artsy"
709:"Coloured skin: the body art of Aida Muluneh – in pictures"
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2019 Conference in Vancouver, followed by an exhibition at
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Journal of Water, Sanitation and Hygiene for Development
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Reflections of Hope: Aida Muluneh in the Aga Khan Park,
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life and death. The white paint may be in reference to
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Ethiopian Passages: Contemporary Art from the Diaspora
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Kimani, Wanja (1 May 2015), "Re-imagining Ethiopia",
374:. With an introduction and text by Eddy Boutmans and
926:"The Photographer Fighting Visual Clichés of Africa"
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Biographical sketch, National Museum of African Art
580:
A World in Common: Contemporary African Photography
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34:
657:"Experience the Nobel Peace Prize Exhibition 2020"
1071:, Manchester University Press, pp. 167–187,
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461:Christiansand Kunstforening, Christianssand, 2011
156:, came to visit her family. He had served in the
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498:Ethiopian Passages - Dialogues in the Diaspora,
294:Muluneh feels compelled to change the infamous
219:The Divine Comedy, Contemporary African Artists
1191:, Routledge, 21 April 2017, pp. 181–195,
1038:"Collections - National Museum of African Art"
567:Festival La Gacilly-Baden Photo, Austria, 2018
213:Her work is included in the collection of the
8:
396:. In English with subtitles also in Amharic.
164:in 2000. After her studies, she worked as a
1189:Women Photographers and Feminist Aesthetics
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401:Publications with contributions by Muluneh
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31:
1100:"Scotiabank CONTACT Photography Festival"
1077:10.7228/manchester/9780719091469.003.0009
467:David Krut Projects, New York City, 2016
120:Muluneh won the European Union Prize at
655:Bjerketvedt, Jonas (10 December 2020).
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408:Firecrackers: Female Photographers Now.
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979:Moges-Gerbi, Meron (31 January 2019).
275:symbolizes purity, peace, and beauty.
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895:Moges-Gerbi, Meron (20 August 2018).
681:"Aida Muluneh (Ethiopian, born 1974)"
7:
1548:"Africa, Baden and Honorary Fellows"
991:from the original on 20 August 2018.
766:
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378:. Text in English, Dutch and French.
953:Jacewicz, Natalie (22 April 2018).
773:Transition: An International Review
510:Imágenes Havana, Havana, Cuba, 2003
308:In 2018, Muluneh collaborated with
1255:The British Journal of Photography
1219:Bajekal, Naina (7 February 2019).
863:Kiunguyu, Kylie (27 August 2018).
29:Ethiopian photographer (born 1974)
25:
1665:Western Canada High School alumni
1249:Warner, Marigold (January 2020).
392:. Includes "A stronger light" by
362:Brussels: Africalia Editions and
1257:. Vol. 166. pp. 54–59.
1008:"Helen's Heroine - Aïda Muluneh"
384:Johannesburg: David Krut, 2016.
406:Fiona Rogers and Max Houghton,
258:Her first solo exhibit series,
1655:Ethiopian contemporary artists
1104:www.scotiabankcontactphoto.com
552:Museum für Moderne Kunst (MMK)
537:African Photography Encounters
501:National Museum of African Art
434:African Photography Encounters
215:National Museum of African Art
190:that can be seen in Ethiopia.
122:African Photography Encounters
1:
1650:Ethiopian women photographers
1554:. 6 July 2018. Archived from
1448:Theory, Culture & Society
924:Giorgis, Hannah (June 2019).
539:, ifa-Galerie Stuttgart, 2009
1435:. Philip Wilson. p. 80.
1320:10.2979/africatoday.61.1.115
1187:"A history of photography",
432:2007: European Union Prize,
1523:"Aida Muluneh - VivianeArt"
1278:"Water Life — Aïda Muluneh"
1158:. Parkstone International.
1154:Delafosse, Maurice (2015).
793:10.2979/transition.120.1.12
785:10.2979/transition.120.1.12
57:1974 (age 49–50)
1681:
1552:Royal Photographic Society
1431:Harney, Elizabeth (2003).
1012:Royal Photographic Society
130:Royal Photographic Society
117:to create surreal scenes.
1302:Milbourne, Karen (2017).
253:Reshaping Public Policies
41:
1645:Howard University alumni
1460:10.1177/0263276410383718
1384:10.2166/washdev.2015.029
1197:10.4324/9781315628912-10
635:www.nobelpeacecenter.org
554:, Frankfurt/Main, 2014;
529:ifa-Galerie Berlin, 2008
513:8th International Open,
360:Ethiopia: Past, Forward.
1660:Ethiopian women artists
1640:Ethiopian photographers
571:Being: New Photography,
505:Smithsonian Institution
354:Publications by Muluneh
79:Photographer and Artist
1405:Muluneh, Aida (2018).
543:Always Moving Forward,
507:, Washington, DC, 2003
459:Ethiopia Past/forward,
330:Dallol, Afar, Ethiopia
255:
576:, New York City, 2018
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182:Muluneh incorporates
717:. 21 February 2017.
631:"Nobel Peace Center"
144:Muluneh was born in
1558:on 13 November 2018
1411:The Washington Post
1231:on 7 February 2019.
517:, Chicago, IL, 2005
412:Thames & Hudson
285:Xhosa face painting
158:Ethiopian Air Force
96:www.aidamuluneh.com
48:©Mario Epanya, 2022
1527:vivianeart.gallery
556:SCAD Museum of Art
515:Woman Made Gallery
443:Fotografia, Italy.
314:H&M Foundation
256:
1503:. 9 December 2014
1018:on 25 August 2018
837:on 30 August 2018
831:World Press Photo
492:Group exhibitions
472:The World is Nine
260:The World is Nine
162:Howard University
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16:(Redirected from
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485:Aga Khan Museum
465:The World is 9,
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436:, Bamako, Mali.
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382:The World is 9.
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249:"The World is 9
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226:Addis Foto Fest
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171:Washington Post
166:photojournalist
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1501:Addis Standard
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1048:on 2 June 2019
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870:This Is Africa
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565:I love Africa,
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340:Nonprofit work
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334:water scarcity
326:Somerset House
316:to create the
296:"single story"
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184:primary colors
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