Full of symbolism, vibrant colours and bold patterns, the photographs of contemporary Ethiopian artist Aïda Muluneh (1974) aim to reflect and raise awareness. Through her exceptional visual language, the photographer's work highlights pressing global issues such as inequalities in access to water, food or education, and the abuse of power, while advocating for the empowerment of women. We present her work at the exhibition On the edge of past future, produced by Fotografie Forum Frankfurt (FFF).

The works of Aïda Muluneh are a testament to the transformative power of photography that challenges established narratives, sparking curiosity, and inspiring change. Her exhibition On the edge of past future explores critical issues such as water scarcity, gender equality, and human resilience, while reimagining the visual language of Africa. The exhibition not only showcases the artist’s remarkable expressive power but also supports the efforts of the Jakopič Gallery – strengthening awareness of the social significance of photography, the value of community, and the exploration of the extraordinary creative potential of geographic regions which are less known to us.

The photographs are characterised by vibrant colours, symbolic compositions, and multilayered storytelling. Rooted in her Ethiopian heritage and global experiences, her works blend traditional African body painting with influences from cinema, painting, and photojournalism. Each photograph is carefully designed to provoke reflection and transcend the boundaries of conventional documentary or artistic photography.

The exhibition presents the most prominent series by Aïda Muluneh from the past decade. The water life (2018) illuminates the impact of water scarcity on women in rural Ethiopia through powerful portraits. Shot in the harsh landscapes of Dallol, the series symbolically highlights the burden of limited access to water and its consequences for health, education, and empowerment opportunities.

The memory of hope (2017) explores the fragility of hope in a world where passivity fosters ignorance and greed – through a reflection on our social responsibility, indifference, and the urgent need to confront the reality we (too) quickly overlook. In the series The world is 9 (2016), Aïda reflects on the unpredictability of life and human quest for balance amid imperfection. These works explore universal themes of love, identity, and resilience, while using surreal backgrounds and powerful symbols to pose provocative questions about our existence. The series The road of glory (2020), created for the Nobel Peace Center, examines the use of hunger as a weapon of war. These poignant photographs reveal the human cost of political agendas and highlight the resilience of those trapped in the vortex of systematic oppression.

The photographer also engages with the historical and cultural narratives of Africa. In the series The distant gaze (2017), she reinterprets archival photographs of Ethiopian and Eritrean women taken by foreign photographers during the colonial era, exploring the commodification and objectification of black female bodies. By reclaiming these depictions, she encourages reflection on contemporary representations of African women and their global resonance. In addition to her own creativity, the artist draws inspiration from poetry, such as Maya Angelou’s Woman work (in the The water life series) and Emily Dickinson’s Hope is the thing with feathers (in the Wings that soar series). These literary influences infuse her photography with a universality that connects personal and collective struggles.

Aïda’s photographs extend beyond aesthetics, as they confront key issues with empathy and urgency. Her works invite viewers to explore the complexities of Africa beyond the clichés often presented in the media, encouraging a deeper understanding of its challenges and resilience. Through her art, Aïda reclaims the narrative of her homeland while addressing the global condition, reminding us of our interconnectedness and shared humanity.

Accompanying the exhibition Aïda Muluneh: On the edge of past future, the Fotografie Forum Frankfurt (FFF) has produced a magazine, which includes a text by the curator Celine Lunsford (FFF), Aïda's own descriptions of the presented series and numerous reproductions of her photographs.

(The publication will be on sale at the Jakopič Gallery, accompanied by Slovenian translations of the texts. Curated by Celina Lunsford and Andrea Horvay [FFF])