Introduction

In Unveil (2017), Wendimagegn Belete reinterprets history through a fresh lens, disrupting conventional narratives and challenging established perspectives. Exhibited at the 15th Gwangju Biennale —framed around PANSORI: A Soundscape of the 21st Century, which explores polyphony, resistance and the reconfiguration of historical narratives—Wendimagegn’s work disrupts the silence surrounding Ethiopia’s defiant stand against fascism, amplifying voices often left unheard in global memory.[1] By unearthing narratives obscured in the Global North’s historical consciousness, Unveil challenges the selective amnesia that shapes dominant historical accounts.

Ethiopia’s resistance against Fascist Italy in the 1930s is a story of defiance, resilience and sacrifice, one that stands in stark contrast to the European-centered narratives of World War II.[2] While the world remembers the war through the lens of Allied victories, Ethiopia’s struggle against Mussolini’s occupation remains largely overlooked, despite its profound significance in the global fight against fascism.[3] The Battle of Adwa in 1896, where Ethiopian forces decisively defeated the Italian invaders, is often cited as a defining moment of resistance, a rare victory against European colonialism.[4] The battle sent shockwaves through imperial powers and became a symbol of African independence, inspiring anti-colonial movements across the continent.[5] However, the Italian invasion of Ethiopia in the 1930s posed a renewed threat that nearly extinguished this hard-won sovereignty. During the occupation, resistance movements like the Arbegnoch (Patriots) waged guerrilla warfare in the mountains, while figures such as Abune Petros, an Ethiopian bishop executed by Italian forces in 1936, transformed into powerful symbols of national defiance and martyrdom.[6]

Unveil reclaims this lost chapter of history, amplifying the voices of those who resisted imperial aggression. But Wendimagegn’s work is more than a historical retelling; it becomes an act of artistic intervention. His approach to history is not linear but fragmented and layered, much like the process of memory itself. Wendimagegn excavates history through mixed media, layering archival materials, found imagery and tactile textures, mirroring how historical truths are often fragmented, reconstructed and constantly in flux. The act of unveiling, in this context, becomes both metaphor and method: peeling away the layers of erasure to expose the raw, unfiltered reality beneath. Each layer speaks to the complexities of the past—its loss, its reclamation, and its multiple, often contested truths. His work challenges the passive consumption of history, inviting the viewer into an active engagement with memory.

Incorporating elements of the conceptual framework that defines Wendimagegn’s artistic practice, Unveil reflects his ongoing investigation into historical and collective memory. His work often interrogates the gaps in history, drawing from archival materials and physical remnants that carry the weight of time and erasure. By doing so, Wendimagegn creates an alternate archive, one that restores the agency of those written out of history and provides a space for memory to reassert itself.[7] This act of ‘unveiling’, whether through the delicate layering of materials or the use of archival fragments, reflects Wendimagegn’s belief in the power of art to challenge dominant historical narratives and propose new ways of remembering.

Within the curatorial framework of the Gwangju Biennale, an exhibition that has long engaged with themes of resistance, memory, and the politics of visibility—Unveil asserts itself as both a tribute and a provocation.[8] The biennale’s commitment to showcasing works that address histories of oppression and defiance provides a powerful context for Wendimagegn’s work. By positioning Unveil in this space, Wendimagegn compels us to reconsider whose histories are remembered and whose are forgotten. In doing so, his work calls for a reckoning with the mechanisms of historical omission, and, more importantly, a confrontation with the politics of memory that continue to shape our global consciousness. Wendimagegn’s work does not merely inform; it demands recognition, urging us to question the structures of memory and visibility that govern our understanding of the past, and to reconsider how the histories of resistance are both written and remembered.

Historical context: Ethiopia’s resistance against fascism

Ethiopia’s resistance against fascism is a story of defiance etched in blood and memory—a battle waged not only on the battlefield but also in the collective consciousness of a nation determined to reclaim its sovereignty. Unlike much of Africa, Ethiopia had remained uncolonised, standing as a symbol of Black independence and resistance against European imperialism.[9] However, in 1935, Benito Mussolini’s Fascist Italy launched a brutal invasion under the pretext of empire-building, seeking to expand its colonial dominion in East Africa.[10] Ethiopia became the first African nation to confront the rising tide of fascism, a precursor to the global struggle that would soon engulf the world in World War II.[11]

The Second Italo-Ethiopian War (1935-1937) was not merely a contest for territorial control but a fight for dignity, survival and historical justice.[12] The Ethiopian forces, composed of professional soldiers, peasant warriors and noble-led militias, fought tenaciously against the technologically superior Italian army, which deployed modern weaponry, aerial bombardments, and, most infamously, chemical warfare. The Italian military, under the command of Marshal Pietro Badoglio, indiscriminately used mustard gas, violating the 1925 Geneva Protocol, causing devastating casualties among both combatants and civilians.[13] Despite these atrocities, Ethiopian forces mounted fierce resistance, exemplified by battles such as the engagements at Tembien, Amba Aradam and Maychew.[14]

Emperor Haile Selassie, a central figure in the resistance, personally led troops in battle before being forced into exile in 1936.[15] His impassioned speech at the League of Nations later that year condemned Italian aggression and called upon the world to uphold international justice, though his pleas were largely ignored due to the policy of appeasement adopted by European powers.[16]. Italy’s occupation of Ethiopia (1936–1941) was marked by brutal repression, extrajudicial killings, and a systematic campaign to erase Ethiopian sovereignty. The Graziani Massacre of 1937, in which thousands of Ethiopians were murdered following an assassination attempt on Viceroy Rodolfo Graziani, stands as one of the darkest episodes of the occupation.[17]

Despite this, Ethiopian resistance never ceased. Patriot (Arbegnoch) guerrilla fighters waged relentless attacks against Italian forces, employing asymmetrical warfare, sabotage and local intelligence networks to undermine the occupation.[18] This ongoing resistance, coupled with the shifting tides of World War II, paved the way for Ethiopia’s liberation in 1941. With the support of British and Commonwealth forces, Emperor Haile Selassie re-entered Addis Ababa on May 5, 1941, marking the restoration of Ethiopian sovereignty.[19] However, the British military presence that followed was a double-edged sword - while their intervention was crucial in ending Italian occupation, it also led to tensions surrounding Ethiopian autonomy. The British military assistance in support of the Ethiopian government and coupled with the suppression of local uprisings, complicated Ethiopia's post-war path to full self-governance.[20] Despite the restoration of sovereignty, Ethiopia’s sovereignty was tested by continued British influence, as reflected in the Anglo-Ethiopian Agreement of 1942, which allowed British military bases in Ethiopia. This complex relationship continues to shape the narratives of resistance and independence in Ethiopia's historical memory.[21]

Ethiopia’s victory was more than a national triumph; it was a global symbol of anti-fascist resistance and African resilience against colonial oppression.[22] The struggle and ultimate success of Ethiopia inspired future anti-colonial movements across the continent, reinforcing the idea that imperial domination was neither absolute nor eternal.[23] Today, Ethiopia’s resistance against fascism remains a powerful historical narrative, underscoring the nation’s unwavering commitment to independence, self-determination and the enduring fight against oppression.[24]

Before delving into Ethiopia’s resistance of the 1930s, it is essential to recognise the foundational significance of its earlier triumph over imperialism. The Battle of Adwa, fought in 1896, remains a monumental symbol of defiance. Led by Emperor Menelik II, Ethiopia decisively defeated Italy’s invading army, shattering the myth of European military superiority and affirming its sovereignty.[25]

Sven Rubenson’s The Survival of Ethiopian Independence argues that this victory was no stroke of luck but the result of careful diplomatic and military planning.[26] Menelik II secured modern weaponry from France and Russia, while forging strategic alliances that positioned Ethiopia as an active player in global affairs. This same strategic foresight, where leadership, diplomacy and military adaptability worked in unison, would shape the anti-fascist resistance decades later.[27]

The significance of Adwa was not merely military; it was ideological. As Bahru Zewde’s A History of Modern Ethiopia, 1855–1991 suggests, the victory ignited nationalist sentiments that later inspired the resistance against Mussolini’s invasion.[28] It established a historical precedent, embedding within Ethiopia’s national consciousness the belief that foreign rule was neither inevitable nor unchallengeable. Yet, despite this legacy, Mussolini’s Italy would return decades later, intent on reclaiming what it had lost.[29]

The emergence of the Arbegnoch following the 1936 occupation was not a spontaneous reaction but part of a long-standing Ethiopian tradition of armed resistance against foreign aggression. Richard Pankhurst’s The Ethiopians: A History underscores that their tactics were deeply rooted in Ethiopia’s past military strategies, mirroring those of earlier rulers like Menelik II.[30] Sven Rubenson’s analysis further highlights how Ethiopian resistance movements thrived on internal and external strategic calculations, leveraging geopolitical shifts to their advantage.[31]

This historical continuity is crucial, as it suggests that the Arbegnoch were not merely a reaction to Italian aggression but an extension of Ethiopia’s broader ethos of self-determination.[32] Their actions align with a lineage of Ethiopian warriors and leaders who saw resistance not as a political choice but as a national duty.

The Arbegnoch movement exemplifies how guerrilla warfare can serve as an effective tool against technologically superior occupiers. By harassing Italian supply lines, exploiting Ethiopia’s rugged terrain, and employing hit-and-run tactics, they maintained pressure on the Italian forces despite overwhelming military disadvantages.[33] Ethiopia’s mountains, forests and caves provided natural cover, making conventional warfare ineffective for the occupying forces.[34]

Beyond their military strategy, the Arbegnoch operated within local communities, relying on civilian networks for support, information and supplies. Their movement was not just a military resistance but a social and cultural one.[35] While the Italians controlled urban centers, the countryside—where much of Ethiopia’s identity resided—remained unconquered. This spatial dynamic ensured that the occupation was never complete: control over cities did not equate to the subjugation of its people.[36]

While the Arbegnoch movement sought to reclaim Ethiopian sovereignty, its struggle had broader global implications. Ethiopia was the first nation to actively resist fascist occupation, predating the larger conflicts of World War II.[37] In this sense, the Arbegnoch were among the earliest anti-fascist fighters in history, positioning their resistance as part of a global struggle against authoritarianism.

Italy’s failure to maintain control over Ethiopia, despite its superior military technology and ruthless tactics (including the use of chemical weapons), exposed the vulnerabilities of fascist imperialism.[38] The Arbegnoch’s resilience challenged the notion that colonial conquest was inevitable and inspired future anti-colonial movements across Africa.[39] Their defiance proved that indigenous forces, armed with strategy and determination, could undermine and ultimately defeat European imperial ambitions.

Figures like Ras Desta Damtew symbolise the personal sacrifices that defined the Arbegnoch movement.[40] His capture and execution in 1937 exemplify the high cost of resistance and the brutal measures employed by the Italian occupiers. However, rather than extinguishing the movement, such acts of repression only fueled further defiance. The Arbegnoch became not just fighters but symbols of an unbroken Ethiopian spirit - an ethos that continued to shape Ethiopian nationalism long after the war ended.[41]

The memory of the Arbegnoch remains integral to Ethiopian identity, shaping narratives of resistance, heroism and sovereignty.[42] Their legacy endures in Ethiopia’s national consciousness, reinforcing the idea that liberation is never granted but fought for. Their struggle was not only for their time but for future generations, ensuring that Ethiopia’s independence remained a reality rather than a historical anomaly.[43]

While the Arbegnoch waged war in the mountains, another resistance group fought in the heart of occupied Ethiopia. The Black Lions, formed in 1936, were not only fighters but intellectuals, strategists and revolutionaries. Composed of young officers, students and political thinkers, they sought to mobilise the Ethiopian people, unify the fractured resistance, and overthrow the fascist regime.[44]

Alessandro Triulzi’s Battles over Memory positions the Black Lions within a broader anti-colonial struggle, emphasizing how their efforts connected Ethiopia’s resistance to a global movement against European domination.[45] This aligns with Rubenson’s analysis of Ethiopian sovereignty—not as an isolated phenomenon but as an integral part of Africa’s broader fight against imperialism.[46]

Despite their strategic efforts, many Black Lion leaders proving that the fight against fascism was waged not only with weapons but with ideas, vision and an unshakable belief in self-determination.[47]

Few symbols of Ethiopia’s resistance carry as much weight as the story of Abune Petros, an Ethiopian Orthodox bishop whose defiance in the face of fascist rule made him a martyr of the anti-colonial struggle.[48] In 1936, as Italian forces tightened their grip on Ethiopia, Abune Petros refused to remain silent. From the pulpit, he denounced the occupation, condemning Mussolini’s brutality and calling on Ethiopians to resist.[49]

His execution was meant to instill fear, but instead, as Triulzi explains, it became a rallying cry for continued resistance. His legacy, immortalised in statues and stories, is a testament to the power of faith and defiance against tyranny.[50]

Ethiopia's resistance against fascism was far from a minor skirmish to be relegated to the footnotes of history; it stands as one of the earliest and most formidable confrontations against European fascist expansion. Rubenson underscores that Ethiopia's victory in reclaiming its sovereignty was not only a triumph of national resistance but also one of the most significant acts of defiance against colonialism, establishing a powerful precedent for other African nations.[51] Ethiopia’s survival and struggle against fascist Italy became an inspirational beacon for Black movements across Africa and beyond. The Green, Yellow and Red flag of Ethiopia, symbolizing resistance and independence, became a potent emblem, inspiring newly liberated African nations as they cast off the chains of colonial rule.[52]

Yet, despite its profound significance, Ethiopia’s anti-fascist struggle has been systematically diminished in dominant historical narratives.[53] European accounts of World War II often position fascism’s defeat as a triumph led by Allied powers, disregarding the sacrifices of those who resisted fascism outside the West.[54]

This is precisely why works like Wendimagegn Belete’s Unveil serve as vital acts of historical intervention. Through layered archival materials, fragmented imagery and evocative textures, Wendimagegn reconstructs forgotten histories, challenging the very mechanisms through which history is curated, remembered, and legitimised.[55] His work, like the resistance itself, is an insistence on being seen.

Wendimagegn’s artistic approach and use of media

For Wendimagegn Belete, history is not just something to be depicted—it is something to be unearthed, questioned and reinterpreted. Rather than presenting a linear, documentary-style account, it resists sanitised retellings of Ethiopia’s resistance against fascism. Instead, Unveil operates as a layered, textured act of remembrance, mirroring the fragmented and contested nature of historical memory itself. Through an intricate interplay of mixed media, archival fragments, found objects, abstract forms and video installations, Wendimagegn forces the viewer into an active engagement with history, compelling them to navigate its complexities rather than passively observe it.

At the core of Unveil is Wendimagegn’s meticulous use of archival materials —old photographs, historical documents, maps, handwritten texts and rare 16mm videos—objects that bear the weight of time yet have been discarded, forgotten, or deliberately erased from dominant narratives.[56] By incorporating these elements, Wendimagegn resurrects lost histories, making tangible the voices and struggles that colonial archives have suppressed.[57] These materials, layered upon one another, create a palimpsest of memory—histories written, erased and rewritten, just as Ethiopia’s resistance itself has been distorted, omitted and reclaimed over time. His engagement with archival sources aligns with the broader decolonial discourse that seeks to challenge and subvert hegemonic historical narratives. Scholars such as Achille Mbembe have critiqued the ways in which colonial archives function as instruments of power, controlling what is remembered and what is forgotten.[58] Wendimagegn’s work actively dismantles this control, offering an alternative counter-archive where history is interrogated rather than passively accepted.

Yet, Wendimagegn does not stop at archival sources. He expands his visual language through found objects—textiles, worn-out books, letters and remnants of military paraphernalia—each carrying its own silent testimony. These objects are not just symbols; they are evidence. They force a confrontation between past and present, between what is remembered and what has been forcibly forgotten. By embedding them into his compositions, Wendimagegn challenges the authority of official archives, which often privilege the voices of the colonisers over the colonised. His work, in this sense, does not merely document history—it embodies it, transforming the canvas into a site of resistance. The use of these found objects also speaks to the materiality of memory, echoing what theorist Rosalind Krauss describes as the "indexical trace" —a physical residue that serves as proof of an event’s existence.[59] Wendimagegn’s layering of these traces not only reconstructs the past but actively reclaims it from historical erasure.

A crucial element of Unveil is its engagement with moving images. Wendimagegn presents a continuous loop of cropped portraits—3,000 anonymous Ethiopian patriots—transforming them into a living archive of resistance.[60] This video installation serves as a stark reminder of the immense sacrifice made during Ethiopia’s anti-colonial struggle from 1935 to 1941. By humanizing these individuals, Unveil shifts the resistance from an abstract historical event to a direct, personal confrontation with those who lived and fought.

Wendimagegn’s meticulous use of rare archival footage, gathered from multiple sources, reinforces the work’s political urgency, bridging past and present. The video becomes an act of witnessing, an immersive experience that refuses to let history fade into obscurity. As he himself acknowledged in our discussion, Unveil became a defining moment in his artistic practice—an eye-opening direction that laid the foundation for much of his later work.[61] Many of his subsequent projects have extended or evolved from this piece, making Unveil a conceptual backbone for his ongoing explorations.

One of the most striking aspects of Wendimagegn’s approach is his intentional cropping of each portrait, a deliberate choice that shifts the focus from individual identity to a collective force of warriors. Photography and videography archives often frame history from multiple perspectives, but Wendimagegn consciously silences external narratives, directing our gaze solely to the faces of those who resisted. By doing so, he reclaims their presence - not as footnotes in history, but as central figures whose stories demand to be seen and acknowledged.

 

Wendimagegn Belete, Unveil (2017) at the Gwangju Biennale 2024. Image courtesy of the artist.

The use of layered textures further amplifies the themes of fragmentation and retrieval in Unveil. The physicality of Wendimagegn’s surfaces—thick, overlapping materials, distressed textures, and raw, almost sculptural forms - echoes the very process of unearthing hidden histories. Layers are built up, torn away and obscured, forcing the viewer into a tactile relationship with the work. The roughness, the depth, the sense of accumulation and decay—all evoke the passage of time, the erosion of memory and the struggle to reclaim it. This act of layering is not just an aesthetic choice; it is a methodology. It embodies the way history is experienced—not as a singular truth, but as a series of overlapping, contested narratives that must be pieced together through careful and deliberate engagement. Here, Wendimagegn’s practice resonates with Derrida’s notion of ‘archive fever’, in which history is both constructed and destabilised through the very act of its documentation.[62] The fragmentation within Unveil reflects the instability of memory, reminding the viewer that history is never fully settled, but always in flux[63].

Beyond his material choices, Wendimagegn’s engagement with digital and print media introduces another layer of complexity to Unveil.[64] By incorporating digital manipulations of archival images, he plays with the tension between authenticity and manipulation, a critique of how historical records have been shaped by those in power. His use of printing techniques, whether through transfer processes or screen printing, further disrupts the notion of a fixed, singular history. Prints fade, distort, or are partially obscured—mirroring the ways in which historical narratives are selectively preserved or erased. This interplay between analogue and digital, between physical presence and ephemeral imagery, reinforces the idea that memory is not static; it is malleable, shaped by those who control its transmission.[65] Wendimagegn’s work, therefore, does not merely present history; it interrogates the mechanisms through which history is constructed, questioning who has the authority to narrate the past.

The effect on the viewer is profound. Wendimagegn does not offer a passive viewing experience; he demands engagement. One does not simply look at Unveil—one deciphers it, moves through it, feels its weight. The layering of media requires patience and interrogation. What lies beneath? What is partially hidden? What has been erased, and why? This process of uncovering mirrors the very act of reclaiming lost histories, forcing the audience into the role of both witness and investigator.[66] In this way, Wendimagegn transforms his audience into active participants in the construction of historical memory, urging them to question the ways history has been presented to them.

Ultimately, Wendimagegn’s use of media in Unveil is not merely a formal strategy—it is a political act. By working with materials that bear historical weight, by disrupting linear narratives, and by compelling his audience to engage with the complexities of memory and erasure, he enacts the very resistance that his work commemorates. In a world where historical narratives are still dictated by the powerful, Unveil refuses to be complicit. It stands as a counter-archive, a challenge to dominant historiographies, and, above all, an insistence that the past—no matter how deeply buried—can always be unearthed.[67]

The Gwangju Biennale and global conversations

Wendimagegn Belete’s Unveil finds a powerful platform at the Gwangju Biennale, an international exhibition renowned for its critical engagement with global themes of resistance, historical memory and political reckoning.[68] The biennale has consistently provided a space for artists who confront histories of violence, erasure and oppression, making it an ideal venue for his work. By positioning Unveil within this context, Wendimagegn not only contributes to the ongoing global conversations about decolonization and historical revisionism but also highlights the Biennale’s role in amplifying marginalised voices and challenging dominant narratives.[69]

The Gwangju Biennale’s curatorial themes have historically centered on the politics of memory, the trauma of past injustices and the role of art in reshaping historical consciousness.[70] In this regard, Unveil aligns seamlessly with the Biennale’s overarching discourse. By resurrecting the overlooked histories of Ethiopia’s resistance against fascism, his work challenges the selective memorialization of history, which has often sidelined African experiences in favour of Eurocentric narratives. The inclusion of Unveil within the Biennale is a critical intervention—one that disrupts the established historiographies of World War II and repositions Ethiopia’s anti-colonial struggle as a pivotal moment in global resistance movements.[71]

Wendimagegn work also engages in a profound dialogue with other artists featured at the Biennale, many of whom grapple with themes of historical reckoning, colonial legacies and collective memory. The 2024 edition, for instance, showcased artists exploring the impact of imperialism, dictatorship and cultural amnesia within their respective contexts, while also engaging with polyphony, resistance and the reconfiguration of historical narratives.[72] In this environment, Unveil extends these conversations by foregrounding Ethiopia’s unique resistance against fascism and the wider impact of African liberation movements. He focus on the Arbegnoch and the broader anti-colonial struggles across the continent creates an opportunity for cross-cultural connections, demonstrating that histories of resistance are not isolated but part of an interconnected global struggle against oppression.

 

Wendimagegn Belete, Unveil (2017) at the Gwangju Biennale 2024. Image courtesy of the artist.

The Biennale’s international audience presents another crucial aspect of Unveil’s impact. For many viewers—particularly those from the Global North—the Ethiopian resistance against fascism remains an underrecognised chapter in world history. The dominant narrative of World War II often centers on European and American perspectives, overlooking the significance of anti-colonial struggles in Africa.[73] By situating Unveil within a global exhibition, Wendimagegn forces viewers to confront these gaps in historical knowledge, prompting critical reflection on why certain histories are preserved while others are marginalised. This confrontation is not just about recognition—it is about the redistribution of historical agency, ensuring that the voices and sacrifices of Ethiopian patriots are acknowledged on an international stage.

Moreover, the Biennale’s location in South Korea adds another layer of resonance to Wendimagegn’s work. Given Korea’s own history of colonial occupation and resistance against Japanese imperial rule, Unveil may evoke a sense of solidarity and shared struggle among local audiences.[74] The work’s themes of resilience, historical amnesia and the politics of memory hold particular relevance within South Korea’s own historical context, fostering new interpretations that bridge geographical and cultural divides.[75] This interplay between local and global histories transforms Unveil into a catalyst for broader discussions on colonial legacies, national identity and the ways in which art can serve as a medium for historical reclamation.[76]

Ultimately, Unveil at the Gwangju Biennale becomes more than an artwork—it is a political and historical intervention. The biennale’s curatorial framework and international reach provide Unveil with the platform to function as both a memorial and a provocation, urging audiences to question the stories they have been taught and reconsider the mechanisms of historical narration. By occupying this space, Wendimagegn’s work not only demands recognition for Ethiopia’s resistance but also insists on a more inclusive, decolonised approach to global history. Through its placement in the Biennale, Unveil becomes a powerful reminder that history is not a fixed entity—it is an ongoing negotiation, one that art has the power to shape, challenge and redefine.

 

Wendimagegn Belete, Unveil (2017) at the Gwangju Biennale 2024. Image courtesy of the artist.

Conclusion

Wendimagegn Belete’s Unveil serves as a powerful testament to the capacity of art to resurrect and reshape overlooked histories.[77] In an era where dominant narratives often obscure or erase the complexities of the past, his work calls us to re-examine those histories that have long been forgotten or deliberately hidden. By bringing Ethiopia’s resistance against fascism into the global conversation, Unveil challenges the collective amnesia that surrounds such struggles, urging a reevaluation of what is remembered and why.[78] Through his layered textures, archival materials and found objects, he not only resurrects lost memories but also transforms them into a visual and emotional experience that demands engagement, reflection and action.

Unveil does more than recount history—it becomes a site of resistance in its own right. It directly confronts the selective nature of memory, where histories of oppression and defiance are often buried under the weight of more dominant or convenient narratives.[79] By recontextualizing these erased histories, his work forces the viewer to reckon with their own understanding of the past, challenging them to ask: whose stories are we taught to remember, and whose are we taught to forget? In this sense, Unveil offers a profound critique of global memory, inviting us to question the ways in which historical narratives are constructed, disseminated and consumed.

As we reflect on the power of contemporary art in shaping historical awareness, we are reminded that art has the ability not only to document history but also to alter it. Art provides an essential space where history is not just remembered but reimagined—where the past is continually in the process of being rewritten, reclaimed and unveiled. In a world increasingly divided by the forces of history and power, Unveil reminds us that the act of remembering is itself a revolutionary one, and through contemporary art, we are offered the opportunity to reshape our understanding of the past and its relevance to the present.[80]

What stories are we still missing? And how might art continue to be a force for uncovering and reclaiming these untold histories, giving voice to those long silenced?

 

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Bruce Cumings, Korea’s Place in the Sun: A Modern History. New York: W.W. Norton & Company, 1997.

Angelo Del Boca, The Ethiopian War, 1935–1941. Chicago: University of Chicago Press, 1969.

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Haile Selassie I, My Life and Ethiopia’s Progress, 1892–1937. Oxford: Oxford University Press, 1976.

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Alberto Sbacchi, “Poison Gas and Atrocities in the Italo-Ethiopian War (1935–1936).” International Journal of African Historical Studies13, no. 3 (1980): 494–507.

Alessandro Triulzi, Battles over Memory: The Politics of Remembering Colonialism in Ethiopia. Trenton: Red Sea Press, 2006.

Wendimagegn Belete, “Artist Statement”, Unveil exhibition catalogue. Gwangju: Gwangju Biennale, 2024.

Wendimagegn Belete, interview with the author, February 12 and 16, 2025.

Dagim Abebe is an artist, curator, and writer based in Addis Ababa, Ethiopia. He holds a BFA in Painting (2018) and a MFA from the Alle School of Fine Arts and Design at Addis Ababa University. His MFA thesis, The Gambits (2023), explores complex narratives of contemporary issues through art practices. In addition to his artistic practice, Dagim writes on the evolution of Ethiopian contemporary art, focusing on themes of memory, identity and collective experiences. His writings have been featured on Curatorialethicsnetwork.org and Africanah.org

Wendimagegn Belete received an MFA in Contemporary Art from Tromsø Academy of Art at The Arctic University of Norway in 2017, and a BFA from the Alle School of Fine Arts and Design at Addis Ababa University in 2012. He works across a variety of media, including video, installation, painting, photography, text and found materials. As a multi-disciplinary artist, his works explores cultural elements, memory, identity, history, spirituality and epigenetic inheritance—the idea that memory can be passed down through generations unconventionally.