Ethiopia’s art community is mourning the loss of acclaimed artist and educator Behailu Bezabih, who passed away on April 10, 2026, at the age of 66.

Behailu, an Assistant Professor at Addis Ababa University’s Alle School of Fine Arts and Design, was widely regarded as a pivotal figure in the evolution of modern Ethiopian art. Over a career spanning several decades, he became known for blending Ethiopian cultural traditions with modern and experimental artistic approaches.

Born in Addis Ababa in 1960, Behailu studied at the Alle School of Fine Arts and Design, graduating in 1980. He later returned to the institution as a faculty member, where he played a key role in shaping generations of artists. In addition to his teaching, he served as Associate Dean for Research and Technology Transfer, contributing to the school’s academic and institutional development.

Behailu was among a group of visionary artists who helped redefine Ethiopia’s contemporary art scene in the years following the fall of the Derg regime. He was also a founding member of the influential Dimension Group, which played a significant role in introducing new artistic expressions and dialogue in the country.

His work was particularly noted for its sense of spontaneity—an approach he often attributed to insights gained during his three decades of teaching children at Hiwot Berhan Elementary School. This experience shaped both his artistic philosophy and his commitment to nurturing creativity at an early age.

Beyond Ethiopia, Behailu’s work gained international recognition, earning him a place in exhibitions and artistic platforms abroad and further cementing his legacy as one of the country’s leading modern artists.

Tesfahun Kibru is an artist who embodies relentless creativity. He takes no breaks, whether in his choice of shoes, clothing, or his commitment to experimentation. Through his work, he seeks to reform or challenge existing cognitive and productive relationships, opening new pathways for the future of Ethiopian art. His latest exhibition at The Space Ethiopia gallery, curated by Dagim Abebe, is historically significant on multiple levels.

Firstly, Tesfahun is now represented by The Space Ethiopia gallery and its visionary leader, Frehiwot Demssie. This marks a crucial milestone in his career, establishing his presence in galleries and art fairs that began in Johannesburg and are rapidly expanding. Artists require professional representation, and for a free spirit like Tesfahun, maturing like fine wine, embracing such a partnership signifies a transformative new chapter.

Secondly, this exhibition continues the experimentation that began during his time at Dima NETSA in the Ethiopian Tire and Rubber Economy Plant, where Rubber Art and Zegetism first emerged. Professor Bekele Mekonnen has written about this evolution. Followers of Capital may remember Tesfahun’s show in April 2018, which celebrated Capital Newspaper’s 10th anniversary and featured Zegetism, Rubber Art, and sculptures. An article in the show’s catalogue discussed the genesis of Zegetism, Rubber Art, and synergy. Now, eight years later, the works have evolved significantly, showcasing a remarkable leap in creativity.

Zegetism stands as a unique fusion of science and art, inviting us to dive into the depths of experimentation and creativity. It represents a pivotal contribution of this generation to Ethiopian art, much like Maître Afwork Tekle’s innovative use of stained glass techniques in painting. What makes Zegetism extraordinary is its redefinition of painting, both in terms of its materials and outcomes. Following Professor Bekele’s insights, we can say that Tesfahun has revitalized the works of Skunder Boghossian, breathing new life into ancient scrolls through Zegetism, elevating Skunder’s painterly techniques to new heights.

The works of Zegetism are not only mind-blowing but also fertile ground for further experimentation.

Rubber Art is an act of creation resulting from the synergy of art and industry. While science divides and classifies, art unifies across labor divisions. The techniques involved in Rubber Art, utilizing industrial vulcanization machines and meticulously prepared textile collages, are a marvel to behold. This represents the manufacturing of art in an industrial age. Notably, Marx analyzed capitalist society by examining its basic commodity form, leading to his magnum opus, “Das Kapital,” which meticulously builds the organism from its cells. Tesfahun begins with the shape of the sole, observing how the harmonious movement of soles creates figures that resonate with the soul. This revolutionary movement in art positions Tesfahun as a vanguard of the avant-garde. We witness Tesfahun’s magnum opus in Zegetism unfolding in real time, where “sole” and “soul” become intertwined themes.

Tesfahun is a rigorous logician in his medium, championing his free spirit for all to see. You are warmly invited to the exhibition, which runs until April 29, 2026. In the meantime, join us for a lively discussion with the artist on the afternoon of April 25, 2026, at The Space Ethiopia Gallery, located at the Ethiopost Headquarters.

In The Road to Detroit: Technology, Opportunity, and an Immigrant’s 48-Year Automotive Odyssey, Ashenafi Tsegaye offers more than a personal memoir. He presents a thoughtful account of migration, professional growth, and the evolving role of technology in shaping modern industry. The book traces nearly five decades of experience in the automotive sector, but its real value lies in the way it connects one individual’s journey to broader questions of innovation, opportunity, and belonging.

At its core, the book is a story of persistence. Ashenafi’s long career reflects the realities many immigrants face: entering unfamiliar systems, adapting to changing technologies, and building credibility over time. Rather than presenting success as sudden or effortless, he frames it as cumulative, shaped by discipline, resilience, and the willingness to learn. That gives the memoir a grounded and credible voice.

The automotive industry provides a strong backdrop for the narrative. It is a sector defined by transformation, from mechanical systems to digital technology, and the book uses that evolution to show how careers can grow alongside industries. Readers interested in technology will find value in Ashenafi’s reflections on how innovation changes not only machines, but also work, leadership, and opportunity itself.

What makes the book especially engaging is its intersection of personal story and professional insight. It is not just an immigrant success story, nor is it simply a technology memoir. It sits at the intersection of both, making it relevant to readers interested in business, engineering, migration, and leadership. The title’s emphasis on “opportunity” is well chosen, because the book repeatedly suggests that opportunity is not merely found; it is recognized, developed, and sustained through effort and adaptability.

The memoir should also resonate with readers in Africa and the diaspora, particularly those looking for stories about global professional mobility. Ashenafi’s journey speaks to the value of knowledge transfer, the importance of representation in technical fields, and the ways immigrant professionals contribute to industries far from where they began.

If there is a limitation, it may be that the book’s broad scope could appeal more strongly to readers with an interest in memoir, technology, or industrial history than to a general audience seeking a fast-paced narrative. But for those interested in thoughtful, reflective writing about career building and innovation, The Road to Detroit appears to offer substance and perspective.

Ethiopia’s capital is gearing up to host one of the continent’s most ambitious creative festivals as Craft Addis 2026 prepares to bring together leading figures from fashion, music, gaming, and technology under the theme “Creative Arts for Transformation.”

The three-day festival, scheduled for April 30 to May 2 at the Adwa Victory Memorial Museum, aims to bridge the gap between Africa’s artistic talent and economic growth by connecting creators with investors and technology partners.

Launched by Zeleman Communications as part of its 20-year anniversary celebration, Craft Addis is envisioned as a “legacy project” that transforms the continent’s multi-billion-dollar creative potential into a viable economic engine. The event will feature influential voices and innovators from across the creative landscape.

A standout moment will be a live performance by Ethio-jazz icon Mulatu Astatke, who will take the stage with his ten-member “Steps Ahead” band from London. Alongside the concerts, the program will include masterclasses, panel discussions, and exhibitions on Artificial Intelligence (AI), Virtual Reality (VR), and other emerging tools shaping Africa’s creative economy.

In addition to its technological focus, Craft Addis will showcase African fashion through a “Craft Market” bringing together designers, artisans, and lifestyle brands. Gaming competitions and e-sports exhibitions will also highlight the growing influence of digital entertainment across the continent.

According to Zelalem Meried, CEO of Zeleman Communications, the festival’s broader vision is to position Addis Ababa as a regional “Creative Hub” that boosts both tourism and economic activity. Organized in partnership with the Addis Ababa Tourism Commission, the event is expected to draw more than 10,000 attendees and reach up to 5 million viewers through digital platforms.

A central feature of the festival will be “The Deal Room,” a dedicated business platform that connects local creators with investors, development partners, and international brands—an initiative designed to expand market access for Ethiopian creative exports.

The festival’s growing network of partners includes Ethiopian Airlines, the British Embassy, Alliance Ethio-Française, the Embassy of Sweden, and leading private-sector players such as Habesha Breweries, spotlighting the scale of private and diplomatic support behind the event.

Organizers underline that Craft Addis is designed to have long-term impact beyond the festival dates. Through the Zeleman Academy and monthly mini-events, they plan to deliver ongoing training, networking, and capacity-building programs that sustain momentum within Ethiopia’s creative ecosystem.

“With Craft Addis, we want to catalyze real transformation by investing in creative talent, technology, and collaboration,” said Zelalem. “This is not just a festival—it’s the beginning of a new chapter for Africa’s creative industries.”