Zoma Museum (formerly Zoma Contemporary Art Center / ZCAC) – Addis Ababa, Ethiopia

Official Name: Zoma Museum (Previously: Zoma Contemporary Art Center – ZCAC)
Location: Mekanisa District, Addis Ababa, Ethiopia
Founded: 2002 (ZCAC concept), March 23, 2019 (Museum opening)
Co-Founders: Elias Sime (Artist/Architect) & Meskerem Assegued (Curator/Anthropologist)
Director: Meskerem Assegued Bantiwalu
Named After: Zoma Shiferraw (1952-1979), young Ethiopian artist who died of cancer
Type: Environmental contemporary art institution, artist residency, educational center
Website: http://www.zomamuseum.org
Address: Mekanisa, Addis Ababa, Ethiopia
Instagram: Information not widely publicized
Hours: Monday Closed, Tuesday-Sunday (check website for current hours)

Overview

Zoma Museum represents one of Africa’s most visionary experiments in sustainable art infrastructure—a 25-year dream realized that challenges conventional notions of what museums and artist residencies can be. More than an exhibition space, Zoma functions as an environmentally conscious art village where mud-built galleries, organic gardens, artist residencies, elementary schools, and vernacular architecture research converge in a living demonstration that cutting-edge contemporary art and ecological sustainability are not merely compatible, but mutually reinforcing.

Built on reclaimed land that was previously an informal dumping ground in Addis Ababa’s Mekanisa district, Zoma Museum opened its doors on March 23, 2019, as the culmination of co-founders Elias Sime (internationally acclaimed artist represented by James Cohan Gallery, New York, and GRIMM Gallery) and Meskerem Assegued (curator, anthropologist, MoMA International Curatorial Institute 2014 fellow) two-decade collaboration to create what The New York Times called “a voluptuous dream, a swirl of ancient technique and ecstatic imagination.”

The museum’s 2-acre compound includes:

Exhibition galleries (large central space plus smaller freestanding galleries)
Artist residency houses with studios
Zoma School (Montessori/Waldorf/Edible Schoolyard-inspired elementary)
Vernacular Architecture School
Contemporary art library
Children’s center
Open-air amphitheater
Organic edible garden (vegetables, herbs, medicinal plants)
Café and restaurant
Museum shop
Barn with biogas facility
Labyrinthine walking paths

All structures built using traditional wattle and daub (chikka) technique: bamboo frames stitched with strings, filled with fermented mud-and-straw mixture, creating circular thatched-roof buildings able to withstand decades of weathering. The result? A green oasis where art, architecture, agriculture, and education intertwine—proving that modernity need not mean concrete high-rises, and that environmental sustainability can be beautiful.

For artists seeking residencies that go beyond studio space provision—residencies that challenge them to rethink relationships between art, architecture, ecology, community, and tradition—Zoma Museum offers rare opportunity to create while living in harmony with nature, experimenting with sustainable materials, and engaging intergenerational knowledge exchange within one of Africa’s most innovative cultural institutions.

The Founders: Elias Sime & Meskerem Assegued

Elias Sime: Artist-Architect-Visionary

Born: 1968, Kirkos/Cherkos neighborhood, Addis Ababa, Ethiopia
Education: Addis Ababa University Alle School of Fine Arts and Design (graduated 1990)
Gallery Representation: James Cohan (New York), GRIMM (Amsterdam/New York/London)
Known For: Monumental relief sculptures from recycled electronic waste, vernacular architecture, environmental art

Artistic Practice:

Elias Sime emerged during Ethiopia’s twelve years under communist military rule (the Derg, 1974-1987), initially trained in Soviet Social Realism at university. By the 1990s, when newly democratic Ethiopia allowed artistic freedom, Sime developed his distinctive practice working with found and re-purposed materials rather than traditional art supplies.

As a child, Sime taught himself to sew, embroider, repair furniture. He collected cast-off objects—flattened tin cans, buttons, plastic bags, animal horns from slaughterhouses—fashioning them into creations. This childhood resourcefulness evolved into sophisticated artistic methodology: Sime gathers materials from Addis Ababa’s sprawling Mercato (Africa’s largest open-air market), the streets surrounding his Cherkos neighborhood, and communities he documents.

Signature Series:

“Tightrope” (begun 2013):
Monumental wall-mounted works combining intricate arrangements of reclaimed electrical wires, circuit boards, computer keys, motherboards—e-waste dumped in Ethiopia by the West. From distance, pieces resemble abstract paintings with gorgeous geometric patterns in neon to earth tones. Up close, viewer confronts mosaic of technological refuse.

Works explore equilibrium between:

Humanity and nature
Progress and tradition
Material and concept
Renewal and destruction

Holland Cotter (New York Times): “Sime’s work, while culturally specific, has always been universalist. And although never without critical thrust—no one knows better the horrors visited on Africa by shipments of toxic Western e-waste—it is utopian.”

“Ants and Ceramicists” (begun 2003):
Stitched yarn on dyed canvas incorporating found objects—commentary on resiliency and community of both ants and traditional artisans.

Site-Specific Installations:
Large-scale works incorporating multiple media. Example: Flowers & Roots (built with Hamilton College students)—discarded computer parts, electrical wire, bronze, cement.

International Recognition:

Major Exhibitions:

Venice Biennale 2022 – “The Milk of Dreams”
Modern Art Museum of Fort Worth – Solo exhibition (February-April 2023)
Arnolfini, Bristol – “Elias Sime: Eregata እርጋታ” (October 2023 – February 2024)
Hastings Contemporary – “Eregata እርጋታ” (March-September 2024)
Peabody Essex Museum – “Ethiopia at the Crossroads” (April-July 2024)
Walters Art Museum – “Ethiopia at the Crossroads” (December 2023 – March 2024)
Wellin Museum of Art, Hamilton College – “Elias Sime: Tightrope” (first major US museum survey, 2019-2020, then traveled to Akron Art Museum, Kemper Museum, Royal Ontario Museum)
Santa Monica Museum of Art – “Eye of the Needle, Eye of the Heart” (2009, curated by Meskerem Assegued and Peter Sellars)
Studio Museum in Harlem, Metropolitan Museum of Art (2008)
Dak’Art Biennale, Dakar (2004)
New Crowned Hope Festival, Vienna (Peter Sellars commission)

Collections:
Metropolitan Museum of Art, Pérez Art Museum Miami, de Young Museum San Francisco, Kunstpalast Düsseldorf, Israel Museum Jerusalem, Royal Ontario Museum Toronto, Norval Foundation Cape Town, Saint Louis Art Museum, North Carolina Museum of Art, and 30+ other major institutions worldwide.

Awards & Recognition:

Smithsonian National Museum of African Art – African Art Award (2019)
Hugo Boss Prize – Shortlisted (2020)
Described by Artnet as “quickly becoming recognized internationally as one of Africa’s leading contemporary artists, alongside El Anatsui and Wangechi Mutu“

Architectural Work:

Studying vernacular architecture of Ethiopia, India, Mexico with Meskerem Assegued, Sime learned from his late father (foreman for Ethiopian Road Authority) about structural engineering. This knowledge informs:

Zoma Museum (2019) – Designed and built with Assegued, employing builders from across Ethiopia to construct using traditional techniques
Unity Park, Menelik Imperial Palace (2019) – Commissioned by Prime Minister Abiy Ahmed after his visit to Zoma Museum. 15-acre park where every stone hand-carved based on Sime’s drawings. Opened as public space with national museum to strengthen unity among Ethiopia’s nine regions.
Gardens at Allé School of Fine Arts and Design (2019) – Commissioned by PM
Zoma Village Entoto (expected 2024/2025) – Large-scale eco-village on Mount Entoto with greenhouses, galleries, children’s center, library, co-working, spa, wild campsite, restaurants, culinary school led by Chef Yohanis
Sof Umar Cave restoration (ongoing) – Bale, Southeastern Ethiopia

Sime’s dual practice—making art from recycled waste while building with sustainable vernacular techniques—embodies vision of transformation and renewal. Whether electronic debris or mud walls, materials possess potential for rebirth.

Meskerem Assegued: Curator-Anthropologist-Educator

Born and raised: Addis Ababa, Ethiopia
Background: Cultural anthropologist, curator, writer
Education: 17 years living/studying in United States, moved back to Ethiopia late 1990s
Training: MoMA International Curatorial Institute 2014 fellow
Current Role: Curator and General Director, Zoma Museum PLC

Curatorial Career:

1992: Began curatorial practice at Oton Gallery, Yellow Springs, Ohio (owned/built by artist Alan McBeth)

1998: Co-founded ArtSpace with Yasser Bagerash (Addis Ababa)

2002: Founded ZCAC (Zoma Contemporary Art Center)

Major Exhibitions Curated:

Giziawi #1 (2002) – Groundbreaking art happening on Meskel Square, Addis Ababa. Public introduction of ZCAC concept. Featured artists from Ethiopia, USA, Italy, Kenya, France. Meskel Square is one of largest public venues in Addis—this bold intervention announced new era for Ethiopian contemporary art.
Divine Light by David Hammons (2003) – Brought internationally renowned African-American conceptual artist to Addis Ababa for major project
Green Flame – Visual art exhibition, New Crowned Hope Festival directed by Peter Sellars, Vienna. Featured Elias Sime, Ernesto Novelo, Julie Mehretu
Eye of the Needle, Eye of the Heart – Elias Sime solo exhibition, Santa Monica Museum of Art (2009), co-curated with Peter Sellars. Exhibition that brought international attention to Sime’s work and ZCAC house (The New York Times: “a voluptuous dream”)
Curvature of Events – Staatliche Kunstsammlungen Dresden, Germany
Johannes Haile: With Different Eyes – Institut für Auslandsbeziehungen, Germany
Vital Signs – Katzen Art Center, Washington DC

Other Roles:

Selection committee member: Dak’Art Biennale (Senegal), Venice Biennale
Author/contributor: Books on folklore, music, art
Speaker/presenter: International conferences on museums, curating, sustainability

Anthropological Research:

Assegued travels extensively through rural Ethiopia conducting research on:

Ancient rituals still in practice
Vernacular architecture techniques
Traditional building methods demonstrating durability
Indigenous knowledge systems
Cultural heritage preservation

This research directly informs Zoma’s architecture and educational programs. As Assegued explains: “We believe it is good to think about alternative construction techniques for our survival… We believe you have to be friends with the natural world. It’s not even a choice, really—it’s a survival issue.”

Philosophy:

Speaking at CIMAM conference, Assegued articulated Zoma’s mission: “One of the most unique aspects of humanity is its insatiable desire to outlive itself. The purpose of museums is to house, preserve, study, and document monumental objects or ideas by inventive minds and guarantee their longevity.”

She notes youth concerns about climate change and social justice drive new museological approaches: “Museums will depend on them as stakeholders and decision makers who will bring new and alternative curatorial and collection approaches.”

Zoma Museum embodies this future-oriented thinking—financially autonomous private company collaborating with local/international institutions and businesses, with accessible design (winding walkways accommodate wheelchairs, elderly, children), ecological consciousness (eBIRD named it birdwatching hotspot), and family-friendly features (dairy cows, goats, sheep, chickens, rabbits, tortoises attract children).

From ZCAC to Zoma Museum: 25-Year Evolution

The Beginning: 2002

Giziawi #1 art happening on Meskel Square launched ZCAC concept publicly. This bold event—bringing contemporary international artists to one of Addis Ababa’s largest public spaces—signaled Meskerem and Elias’s vision for Ethiopian contemporary art engaging global conversations while rooted in local contexts.

“Giziawi” roughly translates as “happening” or “event”—appropriate for intervention breaking from Ethiopia’s gallery-bound art scene.

Early Years: ZCAC Dual Locations

ZCAC Addis:
House built by Elias Sime in Addis Ababa featuring showroom and studio for visiting artists. This house—with its innovative sustainable architecture—attracted international attention when featured in Elias Sime’s 2009 Santa Monica Museum exhibition.

New York Times Magazine called it “a voluptuous dream, a swirl of ancient technique and ecstatic imagination.”

In 2014, New York Times selected ZCAC’s photo for article “52 Places to Go in 2014″—bringing international tourist attention to project.

ZCAC Harla:
Small historic village in hills roughly 15 kilometers from Dire Dawa, encompassing several archaeological sites. In 2007, ZCAC received land from Dire Dawa city administration. Sustainable buildings constructed following ZCAC’s ecological goals.

(Note: Harla location status unclear in current Zoma Museum operations)

Building the Dream: 2013-2019

2013: Meskerem and Elias began acquiring land—2-acre plot of polluted land previously used as informal dumping ground in Mekanisa district, Addis Ababa.

Challenge: Obtaining building permits for mud construction. Addis Ababa’s building code generally forbids using mud; special permits needed with constraining regulations. “The dream is to one day have from the bottom up four stories of mud buildings,” Assegued explained.

2013-2019: Construction Process

Land Regeneration:

Complete clearing of solid waste
Removal/replacement of chemically damaged soil with fertile soil
Landscaping creating large vegetable garden
Installation of natural self-gravitational irrigation channels separated by dry stone retaining walls
Water purification system using sandbags and sun exposure
Excess water channeled to river

Finding Builders:
Difficult finding workers versed in traditional wattle and daub techniques. Meskerem and Elias traveled across Ethiopia conducting research on what works in different environments, collaborating with builders from various regions to come to Mekanisa and apply techniques.

Chikka (Wattle and Daub) Technique:

Build bamboo frame
Stitch frame with strings
Mix mud and straw every three days for about one month until fermented
Fill bamboo framework with fermented mud-straw composite
Allow wall to dry and harden
During drying period, mud easily moldable—Elias carved walls with complex reliefs depicting culturally significant Ethiopian events, ideas, ancient Ge’ez language characters, caterpillars, numerical systems

Materials:

Mud
Straw
Bamboo
Stone (dry stone retaining walls)
Wood (salvaged planks for paving)
Bricks (salvaged for paving)
Cement (limited use)

Environmental Systems:

Water Management:

Rainwater collection for reuse
Polluted stream treatment: Water flowing through grounds treated by sunlight, plants, sediment filters in series of small pools before joining Akaki River
Avoids reliance on Addis Ababa’s municipal pipe system

Energy:

Biogas system: Manure from animals on compound decomposes in underground chamber, gases sent to generator. Leftovers used as fertilizer.

Benefits of Mud-Straw Construction:

Almost no environmental footprint
Keeps interior temperatures even throughout year (natural climate control)
Earthquake-resistant due to straw’s strength and flexibility
Composite material (similar to fiberglass)—both strong and flexible
Can withstand weathering for decades
Beauty and malleability allow artistic, textured walls
Visually impaired can enjoy through touch

March 23, 2019: Grand Opening

Official public opening featured:

Exhibition of Elias Sime’s work
Contemporary dance performance by Destino Dance Company Ethiopia
Musical performance by Girum Gizaw’s jazz quartet
Art workshops for adults and children
Free admission

Impact & Recognition

New York Times 2009: “A voluptuous dream, a swirl of ancient technique and ecstatic imagination”

2014: New York Times “52 Places to Go”

May 2019: Ethiopian Prime Minister Abiy Ahmed visited Zoma Museum. Within one week, commissioned Meskerem and Elias to construct two gardens: one at Allé School of Fine Arts and Design, another at Menelik Imperial Palace (Unity Park).

Unity Park Commission: Perhaps ultimate validation—Prime Minister understanding political power of art, choosing Sime and Assegued to transform former torture site (used by Derg military junta) into public park with national museum strengthening national unity. Every detail meticulously crafted, every stone hand-carved based on Sime’s drawings.

Awards: Zoma Museum described as “award-winning” eco-conscious international art center

Bird-watching: eBIRD named Zoma Museum one of bird-watching hotspots for various birds attracted by local flora

Current Status: Continuing to expand programming, develop Zoma Village Entoto, restore Sof Umar Cave, strengthen international collaborations.

Artist Residency Programs

While Zoma Museum’s website and published materials don’t provide detailed application procedures or structured residency timelines comparable to some Western institutions, the center has maintained artist-in-residence programming since ZCAC’s 2002 founding. Residencies operate on thematic, project-based model emphasizing multidisciplinary collaboration, environmental consciousness, and cultural exchange.

Residency Philosophy

“Zoma Museum acts as a bridge between artists and architects from around the world to create cutting-edge ecological art and architecture.”

The residency isn’t about providing generic studio space—it’s about immersing artists in alternative ways of creating, building, and living. Residents engage:

Living in harmony with nature: Accommodation in traditional mud houses within organic garden setting
Experimenting with sustainable materials: Access to vernacular building techniques, natural materials
Developing new artistic expressions: Freedom to explore beyond usual medium/methods
Finding alternative solutions to environmental problems: Art as response to climate crisis
International exchange: Connecting Ethiopian and international artists, fostering dialogue

Residency Themes

Based on historical programming and institutional focus, residencies designed around:

1. Architecture & Vernacular Building
Learning/applying traditional Ethiopian construction techniques. Participating in ongoing building projects at Zoma Village Entoto or other sites. Researching indigenous architectural knowledge.

2. Landscape Design
Working with Zoma’s organic gardens, edible landscapes, permaculture systems. Creating interventions in existing garden spaces. Designing new landscape features.

3. Visual Arts
Painting, sculpture, installation, photography, video—all media welcomed with emphasis on works engaging environmental themes, Ethiopian cultural contexts, or sustainable materials.

4. Documentary Film
Documenting Zoma’s processes, Ethiopian vernacular architecture, traditional knowledge systems, environmental projects, artistic creation.

5. Education
Developing curriculum for Zoma School, creating educational programs around art/ecology/architecture, conducting workshops for children and adults.

The “Bridge Residency”

One of Zoma’s unique ongoing programs: International artists and architects invited to design/build bridge on property. Only restriction: Must be structurally solid.

Inaugural Bridge: Collaboration with Italian Culture Institute. Designed by Eugenio Tibaldi, executed by Elmi Olindo Contractors. Whimsical design showcasing creative potential while meeting engineering requirements.

Concept embodies Zoma’s philosophy—art must function, beauty must serve purpose, creativity operates within material constraints, international collaboration produces innovation.

Facilities for Residents

Accommodation:
Traditional Ethiopian houses built with wattle and daub technique. Private rooms for individual artists or small collaborative teams. Shared common areas.

Studio Space:
Dedicated work areas within residency houses. Access to larger workshop spaces for messy/large-scale projects. Open-air working areas in garden.

Materials:

Access to sustainable building materials (mud, straw, bamboo, stone, wood)
Natural materials from gardens (plants, fibers, organic matter)
Salvaged/recycled materials
Traditional tools
Some contemporary art supplies (specifics variable)

Amenities:

Organic vegetable garden (food production)
Café and restaurant (meals available for purchase)
Library (contemporary art, architecture, Ethiopian culture, environmental studies)
Museum shop
Children’s center (potential collaboration opportunities)
Open-air amphitheater (performances, presentations)

Community:

Interaction with Zoma School students and teachers
Engagement with Vernacular Architecture School students
Collaboration with other resident artists/architects
Participation in museum programming (exhibitions, workshops, talks)
Connection to Addis Ababa art community

Duration & Structure

Based on historical patterns and similar institutions:

Typical Duration: Likely 2 weeks to 6 months, flexible based on project scope

Structure: Self-directed with curatorial/administrative support. Not highly programmed; residents expected to work independently while engaging community/programming as appropriate.

Outcomes: Vary by project. May include:

Exhibition at Zoma Museum
Permanent installation on grounds
Contribution to architectural/landscape projects
Educational programming development
Documentary/research publication
Participation in public programs

Educational Programming & Workshops

Significant component of Zoma’s mission involves ongoing educational events. Since 2002, center regularly hosted:

Workshops at Alle School of Fine Arts and Design:
Renowned international artists conducting workshops for art students. Past visitors include:

David Hammons (New York) – Conceptual artist, “Divine Light” project
Ernesto Novelo (Mexico) – Artist
Julie Mehretu (Ethiopia/USA) – Internationally acclaimed painter
Others through various collaborations

Community Workshops:

Traditional Ethiopian coffee ceremonies
Urban gardening workshops
Culinary programs
Art-making for children and adults
Vernacular architecture demonstrations

Circus School:
Tightrope lessons and other circus arts for children—playful echo of Elias Sime’s “Tightrope” series

Zoma School Curriculum:
Mix of Montessori, Waldorf, Alice Waters’ Edible Schoolyard Project, Ethiopian religious school traditions (thousands of years old). Provides:

Ge’ez, Amharic, sign language instruction
Integrated garden classes (math, science through gardening)
Primary cooking classes
Traditional Ethiopian cultural education

Past Exhibitions & Events

While comprehensive resident roster isn’t publicly available, documented programs include:

“The Ants and Ceramicists” – Elias Sime (January-February 2011)

Giziawi #1 – Multi-artist happening (2002)

“Divine Light” – David Hammons (2003)

Ongoing Bridge Residency collaborations

Various workshops with international artists since 2002

Application Process

Current Status: Zoma Museum’s residency applications appear to operate on rolling/invitation basis rather than fixed annual open calls with published deadlines.

How to Express Interest:

Given institution’s collaborative, relationship-based model, best approach:

Research thoroughly: Understand Zoma’s mission, values, architectural approach, environmental focus
Develop specific project proposal aligned with Zoma’s themes:
- How does your project engage sustainability/environmental concerns?
- What would you create using vernacular/natural materials?
- How would you contribute to Zoma’s educational mission?
- What exchange would occur between your practice and Ethiopian context?
Prepare materials:
- Artist statement (focus on environmental/social engagement)
- Project proposal (2-3 pages detailing what you’d create, why at Zoma specifically, timeline, materials needed)
- Portfolio (15-20 images showing relevant work, especially work engaging nature/community/sustainability)
- CV
- References
Contact directly:
- Email inquiry to museum (email not publicly listed, but try general contact through website)
- Instagram/social media message expressing serious interest
- Networking through Ethiopian art community, James Cohan Gallery (Elias’s representation), or international curators connected to Meskerem
Be patient: As privately funded institution without large residency administration staff, responses may take time
Consider partnerships: Zoma collaborates with institutions (Italian Culture Institute, Peter Sellars projects, etc.). If affiliated with university/organization, institutional partnership may facilitate residency

Selection Criteria (Inferred):

Demonstrated commitment to environmental sustainability
Interest in vernacular architecture, traditional knowledge systems
Willingness to work with unconventional/natural materials
Community engagement orientation
Self-direction and independence
Cultural sensitivity and genuine curiosity about Ethiopia
Alignment with Zoma’s educational mission
Capacity to contribute to ongoing projects (gardens, buildings, school programming)

Costs & Funding

Current Information: Not publicly detailed

Likely Model: As private institution (Zoma Museum PLC), residency may involve:

Subsidized or free accommodation in residency houses
Access to facilities and materials at Zoma
Residents cover: International travel, meals (though café/restaurant on-site), personal expenses, specialized materials beyond what Zoma provides

Funding Strategies:

Given Ethiopian context and Zoma’s private funding model, artists should seek:

National arts council grants (home country)
Private foundations supporting international cultural exchange
Environmental/sustainability grants (given Zoma’s eco-focus)
University research funding
Crowdfunding (framed as environmental art research)
Partnerships with home institutions

Why Zoma Museum Matters

Demonstrating Alternative Development Models

In Addis Ababa where skyscrapers, shopping malls, residential towers rise daily—tons of concrete poured across hundreds of construction sites to accommodate rapidly growing population (3.4-5 million currently, projected to double in 10-15 years)—Zoma Museum stands as green oasis, architectural statement opposing idea that modernity and development come solely in large-scale concrete forms.

Assegued: “Although modernity is unstoppable, we believe it is good to think about alternative construction techniques for our survival.”

Zoma proves:

Traditional ≠ backwards
Mud buildings can be stunning, sophisticated, durable
Sustainability and beauty coexist
Low environmental footprint doesn’t mean sacrificing comfort/functionality
Alternative construction economically viable

Preserving Endangered Knowledge

Traditional Ethiopian building techniques face extinction as:

Builders die without passing knowledge to younger generation
Modern construction dominates
Building codes prohibit mud (requiring special permits)
Economic pressure favors speed over sustainability

Zoma actively preserves knowledge by:

Employing traditional builders on projects
Running Vernacular Architecture School teaching techniques to architecture students
Documenting methods through artistic/architectural practice
Demonstrating continued relevance and applicability

Meskerem and Elias’s extensive research traveling Ethiopia, studying what works in different environments, creates archive of regional variations and innovations.

Bridging Art and Activism

Zoma Museum is “activism in museum form”—every choice carries meaning:

Reclaiming polluted dumping ground → Environmental restoration possible
Building with mud instead of concrete → Rejecting carbon-intensive development
Organic gardens → Food sovereignty, permaculture, self-sufficiency
Biogas from animal manure → Renewable energy, circular systems
Water purification through natural processes → Avoiding municipal dependence
Employing neighborhood residents → Economic inclusion
Free/accessible programming → Democratizing culture
Edible Schoolyard model → Education reform, environmental consciousness from childhood

Art isn’t decoration; it’s vehicle for demonstrating livable alternatives to destructive mainstream development.

Positioning Addis Ababa as Contemporary Art Capital

Elias and Meskerem explicitly work to “re-establish Addis Ababa as preeminent city for contemporary African art.“

Historically, Addis had strong modern art scene (Imperial Palace housed collections, Alle School of Fine Arts and Design produced notable artists), but 17 years of military Derg rule (1974-1991) damaged infrastructure.

Post-democracy (1991-present), art scene recovering. Zoma contributes by:

Attracting international attention (New York Times coverage, Prime Minister commissions)
Hosting major international artists (David Hammons, Peter Sellars collaborations)
Creating world-class exhibition space
Providing residency attracting international artists
Connecting to global gallery network (James Cohan, GRIMM)
Demonstrating Ethiopian artists compete internationally (Elias: Hugo Boss Prize shortlist, Venice Biennale, major museum shows)

When Ethiopian Prime Minister commissions Zoma team for national projects, signal sent: Art has political/social importance, artists contribute to national development.

Educational Innovation

Zoma School represents radical rethinking of education:

Standard Ethiopian schooling: Often rote memorization, exam-focused, disconnected from nature/culture

Zoma approach:

Mathematics/science taught through gardening (measuring plots, observing plant growth, understanding ecosystems)
Language including Ge’ez (ancient Ethiopian), Amharic (national), sign language (inclusion)
Primary cooking using garden produce
Learning environmental stewardship through direct engagement
Integrating traditional Ethiopian educational methods (religious schools’ holistic approach)
Small class sizes, hands-on learning
Multisensory, embodied knowledge

Children learn sustainability isn’t abstract concept but lived practice—they grow food, prepare it, compost waste, observe birds attracted to gardens, interact with animals, understand cycles.

International Collaboration Model

Zoma’s “bridge” philosophy—acting as connector between international and local—creates partnerships producing innovation:

Italian Culture Institute – Bridge project
Peter Sellars (theater director) – New Crowned Hope Festival, Oedipus Rex production, exhibitions
Prime Minister’s Office – Unity Park, gardens, Zoma Village Entoto
James Cohan Gallery – Representing Elias internationally, facilitating museum exhibitions
GRIMM Gallery – European representation
Various institutions – Workshops, exhibitions, exchanges

Not extractive (internationals taking from Ethiopia) but reciprocal (knowledge, resources, opportunities flowing both directions).

Climate Action Through Culture

As climate crisis intensifies, Zoma demonstrates culture can lead climate action:

Built on principles that if adopted widely would dramatically reduce construction’s environmental impact:

Eliminates concrete production CO2 emissions
Uses locally sourced materials (no transportation emissions)
Employs passive climate control (no AC energy consumption)
Captures/purifies water (reducing municipal infrastructure strain)
Generates renewable energy (biogas)
Produces food on-site (reducing transportation, industrial agriculture)
Sequesters carbon in plants/trees

But Zoma goes beyond individual project—it makes sustainable living beautiful, desirable, aspirational. Young people see Zoma and think “I want to live like that”—way concrete tower can’t inspire.

Artist residencies amplify impact by training artists to create environmental interventions globally.

Living & Working in Addis Ababa

About Addis Ababa

Official Name: Addis Ababa (Amharic: ኣዲስ ኣበባ, “New Flower”)
Founded: 1886 by Emperor Menelik II and Empress Taytu Betul
Elevation: 2,355 meters (7,726 feet) – one of world’s highest capital cities
Population: 3.4 – 5 million (estimates vary, rapidly growing)
Language: Amharic (official), English (widely spoken), Oromo, Tigrinya, others
Currency: Ethiopian Birr (ETB), approximately 55-65 ETB = 1 USD (fluctuates)
Time Zone: East Africa Time (EAT), UTC+3
Religion: Ethiopian Orthodox Christianity (majority), Islam, Protestantism, others

Climate:
Subtropical highland climate (Köppen: Cwb)

Mild temperatures year-round: 10-25°C (50-77°F)
Rainy season: June-September (heavy rains, June-August peak)
Dry season: October-May (pleasant, some occasional showers)
Cool season: November-January (chillier evenings/mornings)
Warm season: March-May (warmest, preceding big rains)

High elevation means temperatures remain comfortable despite tropical latitude. Bring layers—mornings/evenings cool, midday warm.

Getting to Addis Ababa

International Airport:
Addis Ababa Bole International Airport (ADD) – Africa’s aviation hub, Ethiopian Airlines’ base

Major Airlines:

Ethiopian Airlines (national carrier, extensive African/global network)
Turkish Airlines, Emirates, Qatar Airways, Kenya Airways, Egypt Air, numerous others

Visa:
Most nationalities can obtain e-Visa online before travel or visa on arrival at Bole Airport. Requirements/costs vary by nationality—check current regulations.

Vaccinations Required:

Yellow Fever: Required if coming from endemic country

Recommended:

Hepatitis A/B
Typhoid
Routine vaccinations current
Altitude sickness rare at 2,355m but some visitors experience mild symptoms first days

Airport to Mekanisa/Zoma Museum:

Distance: Approximately 15-20 km
Taxi: 500-800 ETB ($9-15), 30-60 minutes depending on traffic
Ride-hailing: Ride (Ethiopian app), ZayRide available, similar pricing
Public transport: Exists but not recommended with luggage, unfamiliar with city

Transportation in Addis Ababa

Taxis:

Blue-and-white “lada” taxis (older vehicles) – Cheap but negotiate price before entering
Modern taxis – Metered or negotiated
100-500 ETB typical for cross-city trips

Ride-Hailing Apps:

Ride (most popular Ethiopian app)
ZayRide
Uber previously operated, status varies

Minibuses:
Cheap (5-15 ETB) but crowded, confusing routes for newcomers, pickpocket risk

Light Rail:
Addis Ababa Light Rail opened 2015 – first in sub-Saharan Africa. Clean, efficient, affordable (2-6 ETB). Two lines (NS and EW). Useful for some routes but doesn’t cover all areas.

Walking:
Central areas walkable during daytime. Sidewalks inconsistent. High elevation means less stamina initially—pace yourself.

Driving:
Traffic congested, driving chaotic by Western standards. Hiring driver recommended over self-driving.

Accommodation

Near Zoma Museum (Mekanisa):
Mekanisa primarily residential area, limited hotels. Options:

Guesthouses/Airbnb – Check online platforms
Stay centrally (Bole, Piazza, Kazanchis) – 30-60 minute commute to Zoma

Budget (Under $30/night):

Backpacker hostels, budget guesthouses

Mid-Range ($30-100/night):

Eliana Hotel, Dreamliner Hotel, Capital Hotel, Harmony Hotel

Upscale ($100+/night):

Sheraton Addis, Hilton Addis Ababa, Radisson Blu, Hyatt Regency

Long-Term Rentals:
If residency 1+ months:

Furnished apartments $300-1000/month depending on area/quality
Check expat Facebook groups, local real estate agencies

Food & Dining

Ethiopian Cuisine:

Injera – Spongy flatbread made from teff (ancient grain), serves as both plate and utensil

Classic Dishes:

Doro Wat – Spicy chicken stew
Tibs – Sautéed meat (beef, lamb, goat)
Kitfo – Minced raw beef (can request cooked = lebleb)
Beyainatu – Vegetarian combination platter
Shiro – Chickpea/bean stew
Gomen – Collard greens

Coffee Culture:
Ethiopia birthplace of coffee. Traditional coffee ceremony central to culture—roasting beans, brewing in jebena (clay pot), serving in small cups with popcorn. Don’t miss experiencing this.

Restaurant Costs:

Local restaurants: 50-200 ETB ($1-4) per meal
Mid-range: 200-500 ETB ($4-9)
Upscale/International: 500-1500 ETB ($9-27)

Vegetarian/Vegan:
Ethiopian cuisine naturally includes many vegan dishes (fasting tradition = no animal products). Easy to eat vegetarian.

Tap Water:
Don’t drink. Bottled water widely available (15-30 ETB per liter).

Groceries:
Supermarkets (Shoa, Bambis), local markets (Mercato—Africa’s largest open-air market, overwhelming but fascinating).

The Addis Ababa Art Scene

Major Galleries:

Addis Fine Art (Bole Atlas area)
Founded 2016 by Rakeb Sile and Mesai Haileleul. First white-cube gallery for modern/contemporary art in Ethiopia. Described as “Most Important Young Galleries in the World” (Artsy 2019). Dual locations: Addis Ababa and London (Fitzrovia). Represents emerging/established artists from Horn of Africa and diaspora.

Artists: Aida Muluneh, Tesfaye Urgessa, Ermias Kifleyesus, Merikokeb Berhanu, Julie Mehretu, others

Makush Art Gallery
Long-established gallery (wine bar/Italian restaurant attached). Features 70+ Ethiopian artists from traditional to contemporary. Welcoming space, art framing/packaging services, reasonable prices. Popular with collectors, tourists, art students.

St. George Art Gallery
Pioneered gallery scene 1991. Exhibits 35 established/emerging artists. Also sells Ethiopian antique furniture, textiles, pottery, jewelry. Two locations: Addis Ababa (Taitu Street near Sheraton) and Alexandria, Virginia (USA).

Asni Gallery
Contemporary Ethiopian art, emerging artists

Gebre Kristos Desta Center
Gallery and learning institute dedicated to work of Gebre Kristos Desta—influential modernist who worked in Germany, helped bring Ethiopian art to international stage.

Fendika Cultural Center
Traditional Ethiopian music/dance venue with visual arts gallery component.

University Galleries:
Alle School of Fine Arts and Design at Addis Ababa University occasionally hosts exhibitions

Other Spaces:

Taitu Cultural Center
Various pop-up exhibitions, artist studios
Annual Sheraton Hotel art showcase

Art Scene Character:

Addis contemporary art scene vibrant but developing. Compared to Nairobi, Lagos, Johannesburg, less established gallery infrastructure but growing rapidly. Young generation engaged, international attention increasing (Addis Fine Art’s success, Elias Sime’s profile, Zoma Museum’s recognition).

Collector Base:
Limited domestic collectors, mostly diaspora Ethiopians, expatriates, international collectors discovering Ethiopian artists through fairs/publications.

Artist Community:
Alle School of Fine Arts and Design creates networks—artists trained together, collaborate, exhibit together. Zoma Museum increasingly functioning as community hub.

Cultural Etiquette

Greetings:
Handshakes standard. Three kisses on alternating cheeks among friends. Elders greeted with respect (slight bow, both hands for handshake).

Time:
Ethiopia uses unique time system—day begins at dawn (6am = 0 o’clock Ethiopian time). Always clarify if meeting uses “faranji” (foreign) or Ethiopian time.

Calendar:
Ethiopian calendar 7-8 years behind Gregorian. Currently 2017 in Ethiopia (writing this in 2025 Gregorian). Has 13 months.

Language:
English widely spoken in Addis, especially educated/business communities. Learning basic Amharic appreciated:

Selam – Hello
Ameseginalehu – Thank you
Ishi – OK
Dehna neh/nesh – How are you? (male/female)

Religion:
Ethiopian Orthodox Christianity deeply woven into culture. Respect churches, religious sites. Modest dress at religious places (cover shoulders, knees; women may need head covering).

Fasting:
Orthodox Christians fast frequently (Wednesdays, Fridays, Lenten periods = no animal products). Affects restaurant availability of certain dishes on fasting days.

Coffee Ceremony:
If invited, attend! Social ritual, shows respect. Expect 1-2 hours, three servings of coffee.

Photography:
Ask permission before photographing people. Government buildings, military, airports sensitive—avoid photographing.

Safety & Health

General Safety:
Addis relatively safe for African capital, but:

Petty theft (pickpocketing, bag-snatching) occurs, especially crowded areas
Don’t display valuables (expensive cameras, jewelry, phones)
Avoid walking alone late night in unfamiliar areas
Use reputable taxis/ride-hailing after dark
Be cautious in Mercato (largest market)—crowded, pickpockets operate

Political Situation:
Ethiopia experienced political tensions, ethnic conflicts, civil war in Tigray region (2020-2022). Addis generally stable but:

Avoid political demonstrations
Stay informed through embassy alerts
Tensions can flare unexpectedly
Register with your embassy

Health:

Altitude: 2,355m may cause mild symptoms (headache, fatigue) first days. Hydrate, rest, acclimate gradually.
Water: Don’t drink tap water
Food: Eat at established restaurants initially; street food once acclimated
Hospitals: Private hospitals (Hayat, Landmark, MCM) offer good care; expensive, have insurance
Pharmacies: Well-stocked, many medications available over-counter

Women Travelers:
Generally safe. Modest dress recommended. Some harassment possible but less than many destinations. Solo women travelers common in Addis.

Practical Tips

Money:

ATMs widely available, accept international cards (Visa most reliable)
Credit cards accepted upscale hotels/restaurants, cash needed most places
US dollars, Euros exchanged at banks, hotels, exchange bureaus
Negotiate prices at markets
Tipping: 10% restaurants if not included; small tips for porters, guides

SIM Cards:
Ethio Telecom only provider (government monopoly). Buy SIM at airport or Ethio Telecom offices. Data bundles affordable.

Internet:
WiFi available hotels, cafés, restaurants. Mobile data adequate. Some government internet restrictions exist (VPN useful).

Electricity:
220V, 50Hz. Plug types C (European two-pin), E, F. Bring adapter. Power outages occasional.

Shopping:

Mercato – Massive open-air market (everything imaginable)
Shiro Meda – Traditional clothing, textiles
Piazza – Historic area, antiques, books
Bole Road – Modern shops, malls

Must-See Attractions:

National Museum of Ethiopia (Lucy skeleton)
Ethnological Museum (in former Haile Selassie palace)
Holy Trinity Cathedral (Emperor Haile Selassie buried here)
Merkato (Africa’s largest open-air market)
Mount Entoto (views over city, historical churches)
Red Terror Martyrs Memorial Museum (Ethiopia’s dark Derg period)
Tomoca Coffee (institution since 1953)

Unique Aspects of Zoma Museum Residency

1. Living Art: Architecture as Medium

Unlike residencies providing neutral studio space, Zoma’s architecture is itself artistic statement. Residents surrounded by Elias Sime’s carved mud walls depicting Ge’ez characters, culturally significant symbols, abstract patterns. The building instructs—demonstrating sculpture can be functional, art can be infrastructure.

2. Intergenerational Exchange

Rare opportunity for contemporary artists to learn from traditional builders, many elderly, possessing knowledge soon lost. Not academic study—hands-on collaboration creating actual structures using centuries-old techniques.

3. Complete Ecosystem Engagement

Not studio plus accommodation—it’s immersion in functioning ecosystem:

Wake to rooster crowing from barnyard
Harvest vegetables for lunch from garden
Watch children learning through Edible Schoolyard model
Observe biogas system converting waste to energy
Walk past dairy cows producing milk becoming fertilizer becoming food
Experience complete cycles most urban residents never encounter

4. Challenging Material Hierarchies

Western art often privileges “fine art materials”—canvas, oil paints, bronze, marble. Zoma asks: Why not mud, straw, salvaged wood, organic matter? What if “humble” materials create monumental, enduring works?

Residents confront biases about what constitutes legitimate artistic material.

5. Performance as Daily Life

Sustainability at Zoma isn’t theme—it’s operational reality. Water purified through natural processes. Energy generated from manure. Food grown on-site. Buildings constructed from earth.

Residents don’t theorize environmental art—they live it, experiencing difference between sustainability rhetoric and practice.

6. Access to Elias Sime & Meskerem Assegued

Working alongside internationally acclaimed artist (Venice Biennale, major museum shows, Hugo Boss Prize shortlist) and respected curator (MoMA ICI fellow, selection committees Venice/Dakar) provides mentorship impossible to replicate.

Not formal teaching—learning through observation, collaboration, conversation as Elias and Meskerem continue their projects.

7. Contribution to National Projects

Possibility of involvement in Zoma’s expanding work—Zoma Village Entoto, Sof Umar Cave restoration, Prime Minister commissions. Residents might contribute to projects with national significance and visibility.

8. Ethiopian Cultural Immersion

Living at Zoma means:

Daily coffee ceremonies
Interaction with Ethiopian families (staff, teachers, neighbors)
Experiencing Orthodox fasting traditions
Participating in local celebrations
Learning Amharic incidentally
Understanding Ethiopian rhythm of life (unique time/calendar systems)

Not tourist experience—embedding in community.

9. Bridge Between Traditional and Contemporary

Ethiopia has ancient artistic traditions (illuminated manuscripts, church paintings, woven textiles, religious art) AND cutting-edge contemporary scene (Addis Fine Art, international exhibitions). Zoma connects these—showing tradition can inform innovation, contemporary can honor heritage.

10. Post-Residency Network

Zoma’s connections through:

James Cohan Gallery (New York)
GRIMM Gallery (Amsterdam/New York/London)
Prime Minister’s office
Italian Culture Institute
Peter Sellars collaborations
International museum network

can open opportunities post-residency. Alumni join community positioned at intersection of Ethiopian and global art worlds.

Future Directions

Zoma Village Entoto: Large-scale eco-village on Mount Entoto (where Addis Ababa first established late 19th century) including:

Art galleries
Children’s center
Library
Co-working space
Spa area
Wild campsite
Restaurants
Culinary school (Chef Yohanis)
Greenhouse-style buildings

Expected completion: 2024/2025 (dates variable)

Sof Umar Cave Restoration: Bale, Southeastern Ethiopia—one of world’s most spectacular cave systems. Zoma team working on restoration/preservation.

Expanded Residency Programming: Plans to develop artist-in-residence programs further, attracting broader range of international artists, fostering greater cross-cultural exchange.

Stronger Museum Ties: Partnerships with other African museums/institutions, international museums collecting African art.

Foundation Development: Creating foundation to support privately-funded museum’s continuation, ensuring financial sustainability.

How to Apply / Express Interest

Given Zoma Museum’s organic, relationship-based model and limited public information on structured application process:

Step 1: Deep Research

Study Elias Sime’s work (James Cohan Gallery website, exhibition catalogues)
Read about Zoma Museum’s history, philosophy, architecture
Understand Ethiopian cultural context
Review vernacular architecture principles

Step 2: Develop Specific Proposal

Strong proposals would include:

For Visual Artists:

Project engaging environmental themes, sustainable materials, or Ethiopian cultural contexts
Willingness to experiment beyond usual medium
Community engagement component (workshop for children, public program)
How Ethiopia/Zoma specifically informs project (not generic residency)

For Architects:

Interest in vernacular building techniques
Design project using mud/straw/bamboo/stone
Research component documenting traditional methods
Potential contribution to ongoing Zoma construction projects

For Filmmakers/Photographers:

Documentary project on Zoma, Ethiopian vernacular architecture, or environmental practices
Visual storytelling amplifying Zoma’s mission
Educational use (Zoma School curriculum, public screenings)

For Educators:

Curriculum development for Zoma School
Workshop series for children/adults
Research on Ethiopian educational traditions, Edible Schoolyard models

Step 3: Prepare Materials

Artist statement (emphasize environmental/community values)
Project proposal (2-3 pages)
Portfolio (15-20 images, prioritize work engaging nature/sustainability/community)
CV
References (curators, educators, architects with environmental focus)

Step 4: Make Contact

Since email not publicly listed:

Website: http://www.zomamuseum.org – Look for contact form or general inquiry email
James Cohan Gallery: Contact Elias Sime’s representation inquiring about Zoma residency opportunities
Addis Fine Art: If in Addis or visiting, stop by gallery, ask about connecting with Zoma
Networking: Reach out to artists/curators who’ve worked with Zoma (Peter Sellars collaborators, past workshop leaders)
Institutional Partnerships: If affiliated with university/organization, propose institutional collaboration
Social Media: While Zoma’s social media presence limited, try reaching out through available channels

Step 5: Visit if Possible

If planning Ethiopia trip, visit Zoma Museum (check opening hours). Meet staff, tour facility, express interest in person. Seeing project directly shows serious commitment.

Step 6: Be Patient and Persistent

As small private institution focusing on quality over quantity, responses may take time. Follow up politely after 4-6 weeks if no reply.

Step 7: Consider Alternatives

If formal residency not immediately available:

Propose workshop you’d lead
Offer to volunteer on building projects
Suggest collaboration with specific Zoma program (school, garden, architecture school)
Propose partnership between your institution and Zoma

Zoma Museum represents art institution of the future—one that doesn’t separate aesthetic from environmental, cultural from educational, artistic from activist. In an era when cultural institutions globally grapple with sustainability mandates, decolonization calls, and community engagement demands, Zoma Museum has embodied these principles since its 2002 inception.

Meskerem Assegued and Elias Sime demonstrate that museums can be carbon-neutral, can preserve endangered knowledge, can employ local communities, can educate children, can grow food, can purify water, can generate renewable energy, can house animals, can build with earth—all while showcasing world-class contemporary art and hosting international artists.

For artists seeking residencies that challenge fundamental assumptions about how we create, build, and live—residencies offering not just studio time but transformative immersion in radically different ways of being—Zoma Museum stands virtually alone.

The mud-built galleries, organic gardens, traditional Ethiopian houses, carved walls depicting Ge’ez characters, biogas systems, edible landscapes, and children learning math through gardening aren’t separate components—they’re integrated ecosystem demonstrating art’s potential to envision and enact livable futures.

As climate crisis intensifies, as traditional knowledge disappears, as concrete cities alienate inhabitants from nature, Zoma Museum shows another way is possible. Not nostalgic return to past, but synthesis of ancient wisdom and contemporary innovation.

Artists leaving Zoma don’t just complete residency—they carry seeds of alternative thinking, planting them wherever they go. They’ve experienced architecture that breathes, materials that decompose and regenerate, communities that sustain ecosystems, education that cultivates whole humans.

In Meskerem Assegued’s words: “Museums collect new art that reflects the moment to attract a new and young audience. The youth, who are worried about their future, are trending away from categorizing and labeling humans. They are also concerned about climate change and social justice.”

Zoma Museum is the art institution youth need—and the future demands.