For ten years now, 1-54 has been the leading art fair dedicated to promoting the artistic and intellectual effervescence emerging from the African continent and its diaspora. After a very successful edition in New York last May, it is in the heart of London’s Somerset House, the emblematic place that saw the fair’s birth and growth, that 1-54 will celebrate its tenth anniversary from October 13 to 16. To highlight these ten years of the impetus for contemporary African art, a bet initially ambitious but quickly won for the founder Touria El Glaoui, she made sure to orchestrate an exceptional edition for this fair that has not ceased to thrill the art market since its debut in 2013. 

We are delighted to celebrate 1-54 London 10th anniversary with our flagship edition at Somerset House, where we have shown since our inception in 2013” says Touria El Glaoui, Founding Director, 1-54. “This milestone will see a bigger fair take over more space at Somerset House with a special courtyard installation and performance by the talented artist Grada Kilomba, which I can’t wait for the UK public to experience. We are looking forward to welcoming new galleries and artists along with our loyal regulars who have been on this journey with us for the past 10 years, without whom, we would not be here. — Touria El Glaoui, founder of 1-54 African Contemporary Art Fair

Significant numbers give substance to the scope of this tenth edition: 50 specialized galleries from 21 countries, the largest number of countries represented to date, will exhibit more than 130 African and diaspora artists whose approaches are as varied as their mediums. Of the 50 galleries present, 17 are established in Africa and 14 are attending the fair for the first time.

Overview and the emergence not to be missed 

For both connoisseurs and neophytes regarding contemporary African art, the 1-54 fair remains an essential moment to add to one’s list of favorite works and artists to discover. For example, portrait enthusiasts will be delighted by the stoic and powerful subjects of Nigerian painter Collins Obijiaku or the “Black kids from the hood” portraits of African-American Auudi Dorsey, both represented by Luce Gallery. For naive art and expressionism lovers, a visit to the Unit London gallery is a must to contemplate the work of the Zimbabwean artist Option Nyahunzvi, whose works serve as a medium to probe Shoa spirituality. Or at the THIS IS NOT A WHITE CUBE gallery where the eye will be delighted by the rhythmic paintings of Angolan artist Cristiano Mangovo who shares with the universe of the young Malian artist Famakan Magassa of the Albertz Benda gallery a free aesthetic and a bright palette. Sculpture enthusiasts are suggested to stop by the Montoro12 Gallery booth where the surrealist sculptures of South African artist Cow Mash will be highly appreciated for their intriguing essence or those of Namibian Stephane E. Conradie who plays with the effects of entanglement of domestic objects to explore the colonial history and creolization.

Alongside renowned artists such as Ibrahim El-Salahi, a key figure in African modernism, and photographers Hassan Hajjaj and Zanele Muholi, young emerging artists are not to be missed. Working and living in London, Sola Olulode, born in 1996, offers visuals of black and queer female intimacy in tender and profound scenes of connection that can be seen at the Berntson Bhattacharjee Gallery. Let’s also highlight the work of the young Brazilian Pedro Neves exhibited by the Portas Vilaseca Galeria. His large format works are the result of his ongoing research into the historical complexities, particularly in relation to colonization, and identities that form the cultural fabric of his native country. For the 25-year-old artist, who presented his first solo exhibition Tripa earlier this year, this participation in 1-54 marks an important moment in his career.

A rich parallel programme

Alongside the exhibition, visitors to this tenth edition will definitely have something to enrich their visit with the remarkable agenda of activities organized for the occasion. 

A mandatory stop for visitors on Thursday and Friday is the Somerset House courtyard, where Grada Kilomba‘s huge installation O Barco/The Boat unfolds. At 32 meters long, the installation, composed of 140 charred wooden blocks engraved with multilingual poems, draws the shape of the lower hold of a former slave ship. The work addresses the memories of the Atlantic crossing in a singular poetry, which commemorates and lays the foundations for a common reflection on the future memorial forms of these millions of life stories marked by the transatlantic trade. While O Barco/The Boat has been on view at Somerset House since September 29, 2022, it is at 1-54 that the work will take its full form, with two dancing, singing and musical performances scheduled for October 13 and 14 respectively. No need to applaud the fair’s commitment to making this poignant work a major event in its program, a notable choice considering that the installation will come to life in the heart of a city historically charged regarding slavery. These performances will be presented for the first time to British eyes.

The fair will also feature its traditional 1-54 Forum, a fruitful platform for dialogue between audiences and African and Afro-descendant artists, art historians and curators. Curated and directed by Omar Kholeif, the discussions are expected to be powerful moments of intellectual exchange, addressing issues of concern to Africans and the Diaspora. Topics to be discussed include black visual culture, the British anti-racist art movements of the 1980s, the tensions between tradition and contemporaneity in art, everyday racism, and the notion of “Africanity” from an identity perspective.

Finally, the 1-54 will please both the eyes and the taste buds. Moroccan-born artist Hassan Hajjaj will present “Love Letter,” a tea specially created for the fair that brings together a rich selection of spices and herbs from all over Africa, from vanilla to cocoa shells from Ghana to orange blossom from Tunisia. More than just a tea, these sweet and spicy notes make this aromatic blend a true taste journey through the richness of the African continent. Also, those visiting the VIP lounge will be greeted by a multi-sensory installation, the Chop Bar, a conceptual work by chef and restaurateur Akwasi Brenya-Mensa that takes the form of traditional Ghanaian chop bars, those roadside stalls where hearty portions of banku, fufu and omo tuo are served. With plastic chairs and tables, old gas cans as stools and paper napkins, the young Ghanaian-born chef seeks to immerse his guests in a personal interpretation of the African restaurant of the future and pay homage to the women behind this rich culinary heritage.

After ten years of dedication, sharing and highlighting African and Afro-descendant artists in the spotlight of the international art world, the 1-54 fair has continued to establish itself as a leading voice for contemporary art from Africa and its diaspora. It is one of the most influential and ambitious extra- and intra-African events of its kind, with four recent editions in Marrakech and one planned for February 2023. This is all the more reason to make it your destination of choice this weekend.

Artskop3437 media partner of 1-54 Contemporary African Art Fair

1-54 London 2022

From October 13 to 16

Somerset House, 

Strand, London WC2R 1LA,

United Kingdom

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Always pushing the against the odds, in 2020 1-54: Contemporary African Art Fair was one of the only fairs to continue to stage physical editions as most retreated to the digital sphere during the peak of the coronavirus pandemic. Touria El Glaoui, its determined founder and director, forged ahead and staged physical editions in Marrakech, Paris, and London—the only in-person fair to take place in the British capital in October 2020. This time last year it opened its doors as a hybrid digital-cum-physical event in its regular location of Somerset House with only 20 exhibitors staging booths—close to half of its normal participation. This year, its returned to its London birthplace for its ninth edition stronger than ever—with a record 48 exhibitors, among which 20 are from Africa. 

The UK’s relaxed pandemic travel restrictions made it finally possible for many to travel to London without having to undergo the previous mandatory 10-day quarantine. The return of Frieze London and Frieze Masters also meant that footfall to the British capital soared during the week of 11-17 October, with many scuttling between the African fair, Frieze and other exhibitions and events in London. 

“It feels like a celebration,” El Glaoui told Artskop. “People are just so happy to be back. Artists from Africa and the African diaspora are having a real moment because you can see that most of the galleries outside the fair are now presenting artists from African descent. There’s something about this moment—whether it is due to Black Lives Matter or something else—

There is definitely an engagement that we have not seen before in terms of VIP collectors booking in advance to buy.”

Strong Sales and Record African Galleries at 1-54 London’s Ninth Edition 

Sales were swift and strong, with many galleries having sold artworks even before the VIP’s opening day—a fact El Glaoui admitted that left many collectors disappointed and surprised as they eagerly rushed to the fair to buy during the fair’s first few hours. 

“Many of the collectors were upset because many of the works were sold already,” said El Glaoui. “People are selling early because the times are difficult, and dealers want to be sure that there is a real return.”

The first work guests confronted was “Nothing Can Separate Us,” the vibrant commissioned installation by London-based artist Lakwena Maciver placed in the courtyard of Somerset House of 20 paintings showcasing full-sized basketball courts—each roughly 3 x 1.5 meters—painted in acrylic with powerful messages in both English and African languages. While guests relished in moments to take a pause on the works before entering to the main exhibition, most were unaware that half of the sculptures, from the series “I’ll bring you flowers,” had already been sold in the realm of $27,400 by Vigo Gallery.

Fridman Gallery from New York almost sold out on the first day, selling a $50,000 work by Nate Lewis to a museum in Cardiff, Wales as well as another work by the artist for $28,000 to a collector on the Tate Acquisitions Committee, and two works by Ethiopian Hana Yilma Godine for $25,000 to a Paris-based collector.

London and Accra-based Gallery 1957 sold several works in the opening hours of the fair for between $4,800 and 27,500. The gallery showed works by Serge Attukwei Clottey, Godfried Donkor, Afia Prempeh, Lord Ohene, Arthur Timothy and Cornelius Annor. 

Long-time 1-54 fair participant Addis Fine Art from Addis Ababa, Ethiopia was on a roll this year. The gallery, which recently opened a new permanent 2,000 square foot space in London on Eastcastle Street, in the heart of Fitzrovia’s gallery district, was in addition to 1-54, also participating in Frieze London for the first time. It sold out its booth at Frieze, showcasing works by Biomorphic abstractionist painter Merikokeb Berhanu and at 1-54 they sold out works by Tesfaye Urgessa for approximately $13,700 each. 

“For 1-54 we decided to showcase works by four artists from the Ethiopia diaspora, who each broach topics of migration and race from their own personal lens,” Rakeb Sile told Artskop. The gallery’s booth at 1-54 showcased a multidisciplinary display of sculpture, minimalist abstract painting, collage, and figurative monotypes.

“For our first time exhibiting at frieze which is a major milestone for us, we are exhibiting the works of painter Merikokeb Berhanu who has been with us since the beginning, and we have always felt her work should be seen on the art world’s biggest stages, so we are delighted to be exhibiting her work at frieze London,” added Sile. 

Other sales included four sculptures by Donald Wasswa priced between $4,800 and $10,300 and two hangings by Dickens Otieno for between $8,900 and $10,293 at Circle Art Gallery from Nairobi, Kenya, and three oil paintings on fabric by Bunmi Agusto from newcomer DADA Gallery from Lagos, Nigeria. The paintings sold for approximately $11,000 to a London-Nigerian-based collector. “Agusto“, says El Glaoui, “is an artist to watch.”

“We’ve had a great start to our fair season at 1-54,” said Linda Pyke, director of Cape Town-based THK Gallery. “It’s good to be back in a vibrant London, reconnecting with collectors, institutions and new art enthusiasts.” South Africa’s has had a particularly challenging run of coronavirus restrictions, with the country only taken off the UK’s red list on October 11, allowing entry for full-vaccinated South Africans.

“Our young artists are accessibly priced in the $6,900 to $15,000 range, we’ve had strong sales, including five Lulama Wolf paintings, five hand-made tapestries by Pierre Le Riche, four Lerato Motaung paintings, and three sculptures by Jake Michael Singer,” added Pyke. 

A Tune of Success for African Art at 1-54 London 

For a market that is still relatively new to the art world, 1-54 London’s success is testament to the fact that art from Africa and its diasporas remains one of the art market’s most in demands segments. The 48 galleries hailed from 19 countries across Europe, Africa, and North America, including Angola, Belgium, Brazil, Ivory Coast, Egypt, France, Germany, Ghana, Italy, Kenya, Morocco, Netherlands, Nigeria, Senegal, South Africa, Switzerland, Uganda, the United Kingdom, and the United States. “We had the biggest number ever of applicants—around 100,” said El Glaoui. “This was a real surprise given that we were still dealing with coronavirus restrictions.”

This year the fair welcomed galleries from Brazil for the first time, marking a new venture into the African diaspora. “There’s a new trend towards Afro-Brazilian art now,” said El Glaoui. Participating galleries from Brazil included HOA Gallery from São Paulo.

Always at the cutting-edge of the art world’s latest ventures while bringing them home to Africa, 1-54 also staged, as part of its special projects, a collaboration with Christie’s: the Osinachi x Christie’s NFT Series. The fair is pairing up with Christie’s in an auction of Different Shades of Water, an NFT series by Nigerian crypto-artist Osinachi. The NFTs will be offered in Christie’s First Open: Post-War and Contemporary Art Online auction sale, which is open to bidding until 19 October. 

Osinachi’s dreamy works could be seen at the end of Somerset House’s east wing. Born Prince Jason Osinachi Igwe, the visual artist explores personal experience within a technological environment and known as one of Africa’s leading crypto artists. “Aesthetically and through their creation, the artist’s work explores visible existence “as an act of protest,” according to a statement at the fair.

This year’s success and vibrancy signaled once again the intellectual, visual, and creative powerhouse that is art from Africa and its diasporas. Yet the journey is still ongoing as art from the continent and beyond now takes its rightful place in the international art world game. It’s a place as so many agree and as the wealth of new collectors, galleries, and artwork sales show, is here to stay.

“I always try to remind people that the value we put on art from the continent is still not at the level of western artists yet,” added El Glaoui. “Let’s not forget that the journey is still ongoing.”

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The ninth edition of the 1-54 Contemporary African Art Fair at Somerset House will take place from 14 to 17 October 2021 and will feature work from 48 leading international galleries from 23 countries across Europe, Africa and North America. Among the exhibitors this year are 20 galleries from Africa, a record number of galleries from the continent, and of the 48 exhibitors, 14 galleries will be welcomed to the London fair for the first time.

1-54 London 2021 Exhibitors:

• 31 PROJECT (Paris, France)
• 50 Golborne (London, United Kingdom)
• Addis Fine Art (Addis Ababa, Ethiopia)
• AFIKARIS (Paris, France)
• Afriart Gallery (Kampala, Uganda)
• Beardsmore Gallery (London, United Kingdom)
• Berman Contemporary (Johannesburg, South Africa)
• Bubble’n’Squeak (Brussels, Belgium)
• Circle Art Gallery (Nairobi, Kenya)
• Claire Oliver Gallery (New York, USA)
• DADA Gallery (Lagos, Nigeria)
• EBONY/CURATED (Cape Town, South Africa)
• Ed Cross Fine Art (London, United Kingdom)
• Foreign Agent (Lausanne, Switzerland)
• Fridman Gallery (New York, USA)
• Galerie Atiss Dakar (Dakar, Senegal)
• Galerie Carole Kvasnevski (Paris, France)
• Galerie Dominique Fiat  (Paris, France)
• Galerie Eric Dupont (Paris, France)
• Galerie Le Sud (Zurich, Switzerland)
• Galerie Number 8 (Brussels, Belgium)
• Gallery 1957 (Accra, Ghana/London, UK)
• Guns & Rain (Johannesburg, South Africa)
• HOA Galeria (São Paulo, Brazil)
• Jack Bell Gallery (London, United Kingdom)
• Kalashnikovv Gallery (Johannesburg, South Africa)
• Kristin Hjellegjerde Gallery (London, United Kingdom/Berlin, Germany/Nevlunghavn, Norway)
• La Galerie 38 (Casablanca, Morocco)
• Loft Art Gallery (Casablanca, Morocco)
• LouiSimone Guirandou Gallery (Abidjan, Ivory Coast)
• Luce Gallery (Turin, Italy)
• Mashrabia Gallery of Contemporary Art (Cairo, Egypt)
• Montague Contemporary (New York, USA)
• Nil Gallery (Paris, France)
• Nuweland (Oosterzee, The Netherlands)
• OOA Gallery (Barcelona, Spain)
• October Gallery (London, United Kingdom)
• Retro Africa (Abuja, Nigeria)
• Richard Saltoun Gallery (London, United Kingdom)
• Sakhile&Me (Frankfurt, Germany)
• SMO Contemporary Art (Lagos, Nigeria)
• Sulger-Buel Gallery (London, United Kingdom)
• THIS IS NOT A WHITE CUBE (Luanda, Angola /Lisbon, Portugal)
• THK Gallery (Cape Town, South Africa)
• UBUNTU Art Gallery (Cairo, Egypt)
• Vigo Gallery (London, United Kingdom)
• Wilde (Geneva, Basel, Zurich, Switzerland)
• Yamamoto Keiko Rochaix (London, United Kingdom)

1-54 Forum

The fair will be accompanied by 1-54 Forum, an extensive programme of artist talks, panels, screenings, performances and readings that will be curated by Dr. Omar Kholeif, Director of Collections and Senior Curator at Sharjah Art Foundation, and will take place both online and at Somerset House.

Entitled Continental Drift, the Forum is a choreography that will unfold in slow-motion over the course of 1-54 London 2021. Transmutations of time and the anxious hysteria of the free-wheeling present collide in an interwoven series of exchanges that unfold in conversation, song, and dance that echo across broad expanses of time. Across four days, hushed silences find their expression in intimate moments staged between artists and audiences; mediators and narrators, who collectively delve into themes of legacy, philanthropy, and digitality.

Exploring this interstitial moment in history, 1-54 Forum explores the concept of the drift as a moment for gradual reflection—a cumulative act of knowledge gathering, a dance from one end of the continent to another, oscillating gently: deep time in constant motion. Conceived as a symphonic reverie—a production of tessellating forms, movement, and action unfold as dissonant variations traveling through topics and themes that encompass ecology and ruin, antiquity and futurism. Conceived in fragments, Continental Drift is a modular concerto that explores the engine of empire; the jagged contours of history; the imagined scarcity of resources and how these various facets converge into resounding rendition—an imagined landscape for the future. Part ballad, part pop song; minor details and minor feelings rise to the surface—amplified into an interleaving chamber of resonant voices.

The ‘voice’ in this context is intended to embody a polyphonic spree of dissonant varieties, invoking concepts of Négritude and Black emotion; exploring solidarity movements; moments of rupture, fracture, and re-constitution to proffer a context for new forms of visual culture to emerge. In this regard, ‘the drift’ is conceived as a collective act of marching, in slow motion, towards the future. Discover the complet program of the 1-54 Forum here.

Specials projects and Christies x 1-54

Lakwena Maciver commissioned for 1-54 Courtyard Sculpture at Somerset House

London-based artist Lakwena Maciver, has been selected for the 2021 edition of the 1-54 Courtyard Sculpture Commission. With the support of Vigo Gallery, Maciver will be creating 20 large and interactive basketball paintings in her signature bold style.

Along with the basketball paintings that will take over the courtyard this fall, Lakwena Maciver’s powerful Nothing Can Separate Us flags will fill the Somerset House West Wing corridor. Each of the 12 flags is hand-stitched and boasts a unique colour combination. First conceived as a painting in 2020, the work evolved into a larger series that took on a wider meaning as the world witnessed the harsh reality of the coronavirus pandemic. As London, and the rest of the world, has slowly emerged from lockdown, the message on the flags still resonates deeply. The flag installation at Somerset House follows a public installation by the artist in Covent Garden, where flags bearing the same Nothing Can Separate Us message lined King Street and Henrietta Street. 

Redefining The Trend – Histories in the making

Additionally, as part of the programme of 1-54 Special Projects, the fair will once again be partnering with Christie’s to present REDEFINING THE TREND – Histories in the Making, an exhibition at the Duke Street space curated by art historian and art critic Christine Eyene. The exhibition explores how new artistic practices from Africa and the diaspora contribute to the defining of present aesthetics, discourses, and creative processes while opening new chapters in the continent’s art histories.

Bringing together works created over the past year, during what we have come to know as ‘unprecedented times,’ this exhibition looks at how artists navigate the unknown through artistic visions that reassert their creative approach and allow scope for experimentation. The selection of works emphasises the variety and richness of the materials used and techniques developed by the artists. Through this, coming to the fore are personal and collective histories, and societal issues, envisaged from reflective, abstract, and process-based perspectives.

REDEFINING THE TREND posits practices at a particular moment that is both contemporary and historical. It also anchors them in a context that is producing ruptures from which only something new can emerge.

Partnership with Christie’s + NFTs at 1-54

1-54 Online Powered by Christie’s will also return, providing a virtual experience where visitors will encounter additional works displayed by participating galleries as well as highlights from the fair itself.

From Thursday 14 – Sunday 31 October 2021, works from 1-54 will be available to purchase and view on Artsy for an extended period of time following the close of the official show.

1-54 in collaboration with Christie’s presents an auction of Nigerian crypto-artist Osinachi’s NFT series Different Shades of Water. For the first time, Christie’s will have a presence at an art fair with a booth showcasing Osinachi’s NFTs. The digital artworks associated with the NFTs will be on view at 1-54 London 2021, curated by Daria Borisova. The online NFT auction will mark the first NFT by a contemporary African artist offered by Christie’s in Europe and is the first NFT collaboration for 1-54. The digital artworks associated with the NFTs in Different Shades of Water will be exhibited at Somerset House during the fair, with the online-only auction for the NFTs, First Open: Post-War and Contemporary Art Online, taking place from 5 to 19 October. Christie’s partnership with 1-54 demonstrates the auction house’s commitment to showcasing contemporary African art to their global client base. This is in addition to the 1-54 Online Powered by Christie’s platform that enhances exposure internationally.

Considered Africa’s foremost crypto artist, Osinachi (born Prince Jacon Osinachi Igwe, 1991), is a Nigerian visual artist whose work explores personal experiences within a technological environment. Aesthetically and procedurally, Osinachi’s work explores visible existence as protest by depicting and reimagining how individuals and collectives engage in advocacy for freedom of identity by thwarting societal expectations. Find out more about the complet Special Projects here.

1-54 Annual book

Having published over 15 highly regarded and celebrated fair catalogues since its founding in 2013, 1-54 announces the creation of a new ouvrage which is set to be launched at their London edition: The 1-54 Annual Book.

The 1-54 Annual Book is quintessential of all the artists, galleries, programming and knowledge platformed at and presented by 1-54 over a single year. The inaugural 1-54 Annual Book is a substantial endeavour that will include four editions of the fair from 2020 – 2021: 1-54 London 2020; 1-54 Paris 2021; 1-54 New York 2021 and 1-54 London 2021. Alongside a biography and work for every artist presented (300+) and a profile about every gallery (60+), the book also includes transcriptions of three of the most impactful and memorable panel discussions at 1-54 Forum and unique artist interviews.

The 1-54 Annual Book, is a reflection of a year of challenges where adaptation was the keyword. It is a statement of creativity, innovation, resilience, and a commitment to the broader mission: the fair’s dedication to showcasing contemporary art from Africa and its diasporas. Pre-order now here!

1-54 Contemporary African Art Fair

14 – 17 October 2021

Somerset House – London

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1-54 Contemporary African Art Fair, the leading international art fair dedicated to contemporary art from Africa and the African diaspora, will hold its seventh edition of the fair in New York from May 17 – 23, 2021. “The global pandemic has meant that regretfully we have had to cancel our physical edition of 1-54 in New York for the second year in a row. Although we are sad not to be returning to our usual format, we are elated that our continued partnership and relationship with Christie’s has meant that we can once again exhibit the work of artists from Africa and its diaspora online via the auction house.(…)” commented Touria El Glaoui, Founding Director of 1-54

26 galleries and more than 90 artists

1-54 New York Online will welcome 26 international galleries presenting work by leading contemporary artists from Africa and its diaspora.

• 50 Golborne (London, UK); 
• AFIKARIS (Paris, France); 
• De Buck Gallery (New York, USA);
• Duane Thomas Gallery (New York, USA);
• EBONY/CURATED (Cape Town, South Africa);
• espace d’art contemporain 14N 61W (Fort-de-France, Martinique);
• Fridman Gallery (New York, USA);
• Galerie Atiss Dakar (Dakar, Senegal);
• Gallery 1957 (Accra, Ghana; London, UK);
• Hafez Gallery (Jeddah, Saudi Arabia);
• HOA Galeria (São Paulo, Brazil);
• Jack Bell Gallery (London, UK);
• Kristin Hjellegjerde Gallery (London, UK; Berlin, Germany;
• Nevlunghavn, Norway); LatchKey Gallery (New York, USA);
• Loft Art Gallery (Casablanca, Morocco);
• LouiSimone Guirandou Gallery (Abidjan, Côte d’Ivoire);
• Luce Gallery (Turin, Italy);
• Nil Gallery (Paris,France);
• Nuweland (Oosterzee, Netherlands);
• October Gallery(London, UK);
• OOA Gallery (Barcelona, Spain);
• POLARTICS (Lagos, Nigeria);
• Retro Africa (Abuja, Nigeria);
• ROSS-SUTTON Gallery (New York, USA);
• Sulger-Buel Gallery (London, UK);

Amongst the 90+ artists whose work will be shown at the fair, over 40 artists will be exhibiting at the fair for the first time.

A renewed partnership between 1-54 fair and Christie’s

Following successful presentations in London and Paris, 1-54 continues its partnership with Christie’s to create and host an innovative platform, extending the fair’s capabilities for showcasing an extensive range of artworks by participating galleries. “This is now Christie’s third global collaboration with 1-54, and we continue to discover new synergies together in the virtual presentation of this important event. While the COVID-19 pandemic continues to disrupt business travel and physical gathering, Christie’s is delighted to offer its digital platform and convening power within the art world to help present the fair online, and to support 1-54 in its dedication to contemporary artists from Africa and the African diaspora. We also look forward to welcoming local audiences to Rockefeller Center this May to see the curated exhibition “Knotted Ties” as an in-person element of this exciting fair”  said Bonnie Brennan, President, Christie’s America.

In addition to the fair’s partnership with Christie’s online, 1-54 and Christie’s will host in the Rockefeller Center from 15 – 26 May, Knotted Ties, an exhibition featuring a curated selection of artworks drawing together the works of female artists using textiles. Knotted Ties contemplates the pluralism of the medium as well as narratives portrayed and expressed through fabric and thread. The exhibited works illustrate both the power and strength of textile work and its capacity to convey humanity’s entangled histories, challenging social landscapes, and complex realities.

These works instigate debate while also offering the idea of mediative resolve through resilience, reminding us of the importance of community nurturing and constructive dialogue as we create futures through uncertain times. “(…), we will be curating a special exhibition with our galleries which will be on show in the Lobby Gallery at Christie’s in the Rockefeller Center. We are very much looking forward to safely welcoming visitors to the show in May and are thrilled that people will be able visit the fair online from across the world.” added Touria El Glaoui. Knotted Ties is free to visit by appointment only from 15 – 26 May 2021 at Christie’s Rockefeller Plaza. Hours are Monday- Saturday 10am-5pm and Sunday 1-5pm.

Finally from May 19 – June 6, works from 1-54 will be available to purchase and view on Artsy for an extended period of time following the close of the official show and providing an even larger online audience for the artwork.

The Ritzau Art Prize

This edition also marks the return of the Ritzau Art Prize, an award supporting extraordinary artists from the African continent with three-month career-enhancing residencies at ISCP in New York City. The residency award, developed by the ISCP in collaboration with 1-54 Contemporary African Art Fair and supported by Tauck Ritzau Innovative Philanthropy, will afford global visibility and invaluable professional development opportunities to a chosen artist. The Ritzau Art Prize winner will be announced the week of 1-54 New York Online 2021.

The Prize will be open to late emerging to mid-career artists whose work is being exhibited at the fair, and who have expressed interest in being considered and meet the selection criteria. The selection criteria looks for excellence of work, and potential for impact on the artist and their greater community. The annually rotating jury will be comprised of distinguished contemporary African artists and specialists.

1-54 Forum

For the seventh consecutive year, 1-54 New York will be accompanied by 1-54 Forum, the fair’s acclaimed program of talks, performances and screenings that explores the work and practice of artists from Africa and its diaspora. Additional details on the Forum series and other special projects will be announced in the coming weeks.

1-54 Contemporary African Fair New York

May 17 – 23, 2021

IP Preview May 17 – 18

‘Knotted Ties’, 1-54 exhibition at Christie’s in the Rockefeller Center from 15 – 26 May

1-54 on Artsy May 19 – June 6

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As per every February, 1-54 Contemporary African Art Fair should have taken place in Marrakesh. Due to the current pandemic circumstances, the fair exceeds itself and presents a hybrid format – for the first time at Christie’s Paris, opening for VIPS from the 18^th January, and for all public online (www.christies.com) from 20^th to the 23^rd January 2021. 

Under strict safety measures, the fair that specialises in contemporary art from Africa and its diaspora will be opening its doors to a French audience. 

“Following the postponement of the Marrakesh edition due to Covid regulations, we were formulating ideas for how we could still support our galleries and artists in this extremely challenging time. We realised we would have to move beyond our established model and take advantage of an opportunity offered to us by Christie’s Paris. So, this is a unique edition born out of the exceptional circumstances.” ^[1]

She offers space for 21 internationally renowned galleries, mainly from the African continent and Europe, including 68 artists by: Galleria Continua, Galerie Anne de Villepoix, Luce Gallery, Nil Gallery, Gallery 1957, This Is Not A White Cube, Galerie MAGNIN-A et Galerie Lelong & Co, among others.

This time, the exhibition programme will have a strong international audience as it will be fully available online on the Christie’s website, allowing for a wider opportunity to sell and deliver artworks around the world. 

“More than ever, we are dedicated to platforming contemporary artists from Africa and its diaspora, challenging the misconceptions laid upon artists from the continent by Western-based cultural institutions and encouraging sustainable and engaged collecting practices by all. For now, we are just doing this on a smaller scale and more adaptable format.” ^[2]

1-54 wants to be a platform hosting plural narratives by demonstrating a diversity of identities. Visitors will have the opportunity to discover or rediscover the works of Marie-Claire Messouma Manlanbien at the 50 Golborne. Her work presents a cultural syncretism of her identity between France, Guadeloupe and Ivory Coast. She presents hybrid representations of rituals and cultures, within her mixed media installations from textile to wood and copper to clay. There will be a key contribution from the Casablanca-based Loft Art Gallery that will be presenting the eclectic photographer Mous Lamrabat, the documentary photographer M’hammed Kilito and the visual artist and photographer Joana Choumali.

The latter depicts the African world that surrounds her daily, through photography; during her travels or from local scenes in her hometown, Abidjan, in Ivory Coast where she currently lives. Her photographic explorations further come to life with the use of colourful sewing on the print itself. A sewing element that has become a key meditative process in the production of her work. 

Not to be missed is the presentation by Nú Barreto at the Nathalie Obadia Gallery. The artist puts an accent on the continent with a focus on the denunciation of striking inequality, discrimination and oppressive systems that are deeply inscribed. He does so through drawings, paintings and video works – an urgent practicewhich offers a critical stance on current politics. 

Finally, another important stop is to be made to the Cécile Fakhoury Gallery to see the presentation of visual artist Roméo Mivekannin who closely works with ethnographic photography and classical paintings from the 19^th century – a key historical period in the articulation of a discourse on otherness in the dehumanising context of the slave trade and ravaging colonialism. His acrylic on bain d’élixir canvas strongly relate to two popular mediums capturing the black body, echoing very much with yesterday and today’s ongoing representations. 

In parallel to the exhibitions, it is within the online Forum 1-54 that Morocco remains present. The programmeCrafting wor[l]ds: for a vernacular economy of art, is curated by Le 18, an “independent platform of creation, dissemination and cultural and artistic exchanges based in Marrakesh” ^[1] which will be broadcasted from their space during the fair and throughout February. 

The discursive platform is fundamental in contextualising artistic, cultural, political and social discourses about the contemporary African scene, orchestrated with and by its main actors. The programme will be focusing on the theme of resonance, as they “propose to look at the ways in which new ecologies of cultural practices are emerging, drawing from vernacular principles and circular dynamics.” ^[2]

It will include long-term collaborators invited by Le 18 and their “proposal unfolds along seemingly diverging, and yet converging and intersecting lines, to explore some of the material and immaterial sites and infrastructures of cultural and economic production, reproduction and circulation, by establishing a protocol of diffused curatorship for each knot composing our canvas.” ^[3]For this unique edition, the 1-54 temporarily settle in the French cultural landscape, echoing the fair AKAA (Also Known As Africa) and coinciding with the AFRICA 2020 season (now 2021), among others – initiatives that are most necessary for the visibility of African artistic and cultural discourses in France

^[1] [2] Quote taken from an email conversation with Touria El Glaoui, Founding Director of 1-54 Contemporary African Art Fair.

^[3] This quote was taken from the Le 18 website, available at https://le18marrakech.com/about/

^[4] [5] This quote was taken from the fair’s website, available at https://www.1-54.com/paris/1-54-forum/

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Despite the cancellation of Frieze London and Frieze Masters, the pioneering art fair for contemporary and modern African art 1-54 decided to go ahead as planned. While the hassles arising from the unceasing global coronavirus pandemic have put a damper on most international art fairs, Touria El Glaoui, founder and director of 1-54 Contemporary African Art Fair decide to spearhead along as planned.

“We have a responsibility to our galleries and artists to support them and platform their work,” said El Glaoui. “This is even more so the case in challenging times when opportunities to do so are less accessible or unable to continue as they usually would. The contemporary African art scene is made up of numerous of art scenes that have each felt COVID-19 in different and, at times unpredictable ways. They need to have support.”

This year, there are 36 international exhibitors from across Europe, Africa and North America showcasing more than 110 in the fair’s physical and online edition. For the first time the fair has partnered with Christie’s to produce a simultaneous digital fair that opens it up to more exhibitors—those who may not wish to travel because of various restrictions. With Christie’s it will also host a 1-54 pop-up exhibition at the Duke Street Gallery in London. The fair’s regular 1-54 Forum talks program will also take place curated this year by Contemporary And (C&), titled “I felt like a Black guy from New York trapped in Peru” inspired by the productive networks of creatives of the Global Diaspora.

“For the first time the entire program will be focusing on creative ties between Afro-Latin America, The Caribbean and Africa,” explained El Glaoui. “Talks will be exploring a multitude of art scenes; the ‘Modes of Resistance’ panel will discuss current urgencies and strategies in the context of the Brazilian art scenes, while the panel ‘A View from the Other Side of Things’ will discuss notions of inequality and invisibility in Colombia’s creative art sector through afro-Colombian perspectives. There will also be a keynote led by Aldeide Delgado exploring the use of the expression ‘Latinx.’”

Other highlights of the fair include several solo exhibitions, including DuduBloom More at Berman Contemporary; Anya Paintsil at Ed Cross Fine Art and Ekene Maduka at Polartics.

There’s also a special free exhibition staged in collaboration with Somerset House by late French Moroccan photographer Leila Alaoui called Rite of Passage assembling a range of works from the artist’s rich body of photography portraying the cultural identities and resilience of societies facing difficult and uncertain circumstances. The subjects captured are those to which Alaoui dedicated her life to tell their plight. They are Syrian refugees fleeing civil war in Lebanon as well as North Africans seeking a new life in Europe. On show are three of Alaoui’s pivotal series of photographic works created between 2008 and 2014: Les Marocains (2010), No Pasara (2008) and Natreen (2013).

Alaoui was tragically killed in 2016 at the age of 33 while working on a photography project for a women’s rights campaign for Amnesty International in Burkina Faso.

“At a time when many peoples attentions are understandably focused at home, lives in other parts of the world can feel particularly distant,” said Grace Perrett, Exhibitions Manager at Somerset House and curator of the exhibition.

“Documenting the lives of migrants in No Pasara, and those fleeing the Syrian conflictin Natreen (We Wait), Alaoui’s photographs are a timely reminder that these global crises persist,” she added. “As documented in recent news reports, migrants are still making the dangerous journey across the sea to Europe and those already living in precarious conditions in refugee camps are vulnerable to outbreaks of COVID-19.”

1-54 is an art fair long committed not just to the buying and selling of art from the African continent, but to the dissemination of knowledge and a growth of understanding about Africa.

“Beyond the market and growth, the arts have a tremendous power to help society through tough times and to help us interpret and manage our world, arts are imperative to this moment,” added El Glaoui. “We all turn to some form of creative expression in times of difficulty, so if there was ever a time to support the arts, it is now.”

Tickets on sale now for the public day on Saturday 10 October, with 2-hour time slots available to book all day from 10:00-20:00.

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Pioneering art fair 1-54 Contemporary African Art Fair was the first to be affected. Its New York iteration, scheduled to take place in May alongside Frieze New York, was postponed until May 2021. The fair then turned to Artsy, an online platform for buying and selling art, and held the fair digitally as a last-minute resort. 1-54’s London edition is still due to take place from 8-11 October, but as all events scheduled this year, the remaining months of 2020 are shrouded in uncertainty due to the coronavirus.

On 20 May, 1-54 Contemporary African Art Fair held the first of a series of weekly online discussions on The Future of contemporary African Art Fairs in a Post-Covid World. Panelists included Tokini Peterside, founder and director of Art x Lagos; Victoria Mann, founder and director AKAA (Also Known As Africa) and Mandla Sibeko, founding director of FNB Art Joburg. 

Lockdowns around the world have provided galleries, artists, curators and fair directors with the opportunity of time—time to do what they previously didn’t have time to do. However, uncertainty still plagues the air. It’s been impossible to plan for the Autumn art season. “There’s more time now for galleries to rethink their stocks, their visibility online, their communication with artists and how to promote them,” said Mann. “But there’s also this weariness of the future and the lack of visibility. What if the virus comes back? It’s so hard to move forward in this very dark tunnel.”

“It’s so true,” agreed El Glaoui from quarantine in France. “We make numerous plans about what could happen or couldn’t happen. You make a decision and then have to change it.”

All the panelists agreed that pre Covid-19 the art world was moving at top speed and then, all of a sudden, it just stopped.

“It’s been quite a change for us in South Africa,” said Sibeko. “We are going through what the government has come to call ‘terms’ or ‘stages.’ We are now moving to stage four. There’s been a restrictive movement of people and no flights. It’s been a very tough period for South Africa, especially from an art perspective. All sectors have been affected. This virus has affected all of us—the poor, the rich, the wealthy, black and white. And that’s quite humbling.”

“The challenge is that we are all going to come out of this at different stages and that’s the scary part,” continued Sibeko, “Maybe when South Africa comes out of the coronavirus Nigeria might not be ready and Cameroon might not be ready or maybe Nigeria will be ahead of South Africa, you never know. It is looking like the ‘peak’ will be coming later in the year for South Africa.”

Peterside explained that Lagos had been placed on lockdown late in March and around two weeks ago the lockdown was eased.

“The government has called for an ‘intelligent lockdown’ meaning that because of the high population density that you have in Lagos, it was very difficult for the government to persist with a total shutdown. You have large masses within the population that were very badly affected by the lockdown. Today you have a situation where critical businesses are open—businesses where people could not work from home.”

“Sadly, for the art scene there are no shows,” added Peterside. “Galleries are unable to open at this time. It has been quite a trying period for the art industry here. What we are seeing is that the galleries are in a difficult position, but we are hopeful with regards to the peak. We do not know when the peak will come and we don’t believe we have hit the peak thus far. There’s an expectation in the city that in September and October events can start taking place again but we are still not 100 percent sure. We are hoping to see some movement around Q3 and Q4.”

The real issue, affirmed the panelists, lies in the financial state of the art galleries. “South African galleries have dominated the art industry in this part of the world,” said Sibeko. “They have been flying the flag for a long time for African art. With these galleries being so heavily affected it has such an impact in the way that they will participate in any international fairs going forward.” 

In Paris the so-called “peak” has been reached. On 11 May, after eight weeks of lockdown, France eased its restrictions and allowed businesses to gradually re-open. “We are now starting to de-confine,” said Mann. “The state of mind here is that yes, life is picking up again and businesses are re-opening but not everything: Restaurants, cafes, cinemas, and theaters remain closed. However, many businesses have been able to resume their activity, and this includes art galleries.”

“But we can’t just pick up from where we left off,” she continued. “There is this current state of mind that realizes that our attitude has to change. The virus is still here and we are still living with it until the world finds a vaccine or a treatment to cure it.” 

Adapting To A New Normal

The big questions on everyone lips are: How do we resume our lives and our activities while co-existing with this virus? “Everyone fears a second wave of lockdowns, which would be economically very dramatic,” said Mann. “However, there’s this new energy in the air—this positive thinking regarding how we change the way that we handle our businesses.”

As soon as September hits art fair season will be upon the art world once again. The respective fairs directed by each panelist continue to be scheduled for September through November. But questions remain regarding whether they will still run or have to be postponed. Each panelist stressed the need now to redefine how each fair operates. One of the challenges has to do with the lack of visibility for galleries and fairs for the upcoming months. How can galleries and fairs continue to promote their artists and their programming digitally as nations continue to struggle with re-opening? Communication, everyone stressed, is crucial, and in the absence of the physical gallery space, the digital sphere is where art viewing and discussions must take place, at least for now. 

Art Joburg, scheduled to take place from September 4-6, is the first fair dedicated to African art on the Autumn calendar. Sibeko will most likely be the first to make a decision as to whether or not to postpone this year’s fair.

“It’s been interesting to view the cycle of this virus,” he said. “As soon as things start to reactivate, things don’t actually happen in that way. Tourism has come to a standstill in South Africa. I don’t know if and how the government will find a way to revive this sector and South Africa has a big tourism industry.”

Witnessing what takes place for tourism Sibeko says helps him decide on whether to host Art Joburg in September. “We are looking at changing dates or at least a postponement,” he said. “The ideal situation is to still host the fair if our peak gets under control at some point in August or September. At this point, I don’t know what will happen as our economy is really suffering and many businesses, big and small, are starting to really struggle.”

One option Sibeko said was to host the fair online. “I think it’s a bridge. It’s obviously not the same as a physical art fair, but we will get there eventually. We need to see what stage we are in over the next few months. Right now, we are not allowed to have public gatherings.” 

El Glaoui stated that 1-54 was even considering hosting a more “local” fair with galleries who are unable to travel and not residing in countries with travel bans. “I have been imagining what could happen without a fair in October,” she said. “I still want to sustain the galleries who have been working with us one way or the other—perhaps by helping them share space with other galleries from the continent in London because some of them may not have galleries anymore by then. I have also thought of hosting a parcours in London of works by various galleries or bringing our guests to different spaces for shows in the city if we are unable to host the fair.”

Of Art X Lagos, which is still scheduled to take place November 6-8, Peterside said: “We are hopeful it can still happen. Our first priority is to make sure we are fully compliant in health and safety measures if we do go ahead.”

The Lagos fair has always sustained strong local and international support—last year it hosted over 30 people as part of the Tate Acquisitions of Contemporary African Art. “We hope that by November there will be a desire and a hunger for the kind of uplifting experience that Art X Lagos provides. When it comes to international travel, we can’t say 100 percent what will happen so to connect with people remotely via digital platforms, like Mandla stated, is crucial.” 

Battling Financial Crisis

“The safety is what is most crucial for everyone right now but there is also the question of economic health,” continued Mann. “Big and small galleries are suffering and that is something to take into consideration in terms of economics.“

As Peterside stressed, communication and collaboration are key: “It’s more important than ever today to communicate with one another—galleries and collectors and institutions—to find solutions that allow us to overcome not only the blocks that permit us to be physically present somewhere but also to overcome the fear that surrounds this situation that cannot go unnoticed.”

But what are the galleries saying about the crisis that has brought the art world to an utter standstill? Are galleries more sensitive now about committing to a fair? El Glaoui said that while 1-54 is usually strict on applications with galleries having to submit their applications in February and to receive their response by March, after what happened to its New edition the fair has loosened its deadlines. 

“Some galleries are excited about reopening and others are really worried about how they will make it through the next few months,” said El Glaoui. “We need to support each other as much as we can.”

“There’s no global consensus,” said Mann. “Because each gallery and each business is confronted with their own set of difficulties to overcome then it automatically impacts the way that they envision the future. For many of them what is perhaps the shared global concern is the lack of being able to make a decision regarding the fall calendar.” 

The biggest burden for everyone is the economic strain of the crisis. “In terms of economics there is a necessity of reducing risks,” added Mann. “We cannot expect a gallery today to confirm and pay for a booth for an event in November without having any idea of what the situation is going to be like then. We have to adapt to this situation, and this can only be done through communication.”

The Question of Mobility

The other big challenge is mobility. Today the borders are closed but what about tomorrow? How will international galleries near and far get to one another when we do not know when the borders will open again? How will the transporter prices be affected by the current crisis? What are going to be customs rules from now on? How will galleries work alongside art fairs to facilitate art transportation within a world where travel will be altogether a question and rethought by everyone?

All of these questions are crucial in making future plans.

“We have been rethinking everything on all dimensions. There is a plan A, B, C, D, E, F and G because certainty is the one thing that we all do not have at the moment,” said Peterside.

A Determined Spirit

Regardless, all panelists agreed that there’s also this unyielding spirit in the air to move forward and not just shut down. “We actors of the art world can’t just expect the art world to fall apart; we have to continue carrying it together,” said Mann.

This particularly pertains to the young African art market that has witnessed impressive growth over the last decade. “It’s more important now than ever now for us to keep developing the scene,” added Mann. “We need to find solutions for a not-so-near but not-so-distant future so that we can keep promoting the careers of these artists that we so fervently believe in.” 

“We have been in conversation with our galleries and they have really appreciated the outreach,” said Peterside. “We are not putting pressure on galleries at this point in time. A lot of galleries have struggled over the last few months and at Art X Lagos we are trying to see where we can alleviate some of that pain.”

Clearly, it’s all about survival during this period of unprecedent crisis. But survival doesn’t need to take place alone; on a collective level it ensures the survival not just of the individual but the African art scene as a whole. 

“Even being closed for a week is hard for the galleries in South Africa,” said Sibeko, “And being closed for two months is way too long. The big question is how will the galleries survive? My worry revolves around the work that we have been doing for art in this part of the world. I feel that an Africa that is weak from a collecting perspective is not a good one for the future of the scene.”

“It’s been quite devasting for me to see the amount of progress that has been made by a small group of galleries to just fly this flag at all costs for the African art market and then to suddenly have to stop,” he added. “Is the local market enough to sustain these businesses given that many have gone international and are participating in major art fairs all over the world?”

Collaboration Is Key

What about the artists? Who will take care of the artists who are having trouble selling and exhibiting their art during this period? “The vast number of artists on the continent are not exclusively represented by galleries,” said Peterside. “It’s so important to sustain the momentum of their work. But what will happen to those artists currently deprived of gallery shows and fairs? How are they going to be able to sustain their practices?”

Collaboration and supporting Africa’s burgeoning artists is key during this period. The panellists agreed that what needs to be done is to find ways to support young talent within the African art market. As Mann said, “Ultimately, it’s about joining together and working to progress all of creativity we have worked so hard to achieve.”

“Let’s open up the dialogue so that we can all come out of this stronger,” said Mann. “All the work that has been done over past few years is not about to vanish. On the contrary, it’s going to show what resilience we all have to surpass these types of world events. Today it is Covid but we don’t know what will be next and that’s part of the game: In this field we all need to come up with creative solutions.”

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In light of the current pandemic, Ellen Agnew for Artskop3437 spoke to Mlengeya to find out more about her work and practice – especially during these trying times.

Ellen Agnew: Your works focus primarily on the lives of black women, specifically on the “ties between women and the roles unity, support and friendship have in re-constructing their position in society”. Could you perhaps expand on this – how do these ‘notions’ inform women’s societal standing?

Sungi Mlengeya: I know how important it is to be close to people who share the same views as I do, or – more importantly – people who inspire me. 

If people believe in a certain way of life religiously because that is what was passed on to them, without having any instinctive insights nor influence of a person who thinks differently and questions these practices, they will continue to practice that way of life without question and also pass it on to others – it is difficult to change. 

So, when a person in a community is brave enough to question norms, and is backed up by likeminded people and they inspire others to think differently, it becomes easier to achieve movement towards a better standing, through their unified voice.

E.A: Working in acrylic paint on canvas, you explore ‘space’ in a minimalistic manner. What is your thinking behind this, and how does it relate to your focus on black women’s lives?

I stumbled into the minimalist space in one of the earliest paintings I made, and I remember how free I felt knowing that I could choose to paint or leave out anything I wanted, and that I could still be bold by being simple. Using negative space makes me focus more on my subjects, and the high contrast it creates makes it difficult not to pay attention to them.

For the longest time, black women have been associated with hardship and suffering. In my paintings, they rise above all this and become just themselves, giving them the focus that they deserve to be glorified for who they are. The white space becomes a place where these women can be their true and free selves without distraction.

Your body of work, titled Optimism and which was recently exhibited at the Investec Cape Town Art Fair in Cape Town, South Africa, focused on the notion of hope and remaining optimistic. Now, as the entire world finds ourselves in a space of immense uncertainty due to the spread of COVID-19 – would you say that this body of work – or perhaps your work overall – has taken on a whole new meaning?

In these uncertain times, my paintings carry the same meaning, stronger now more than ever; which is to remain strong and optimistic and continue to work towards achieving our desired state – being able to get back to the everyday lives we chose. 

In exploring ‘space’ in your work, you’ve mentioned that this space represents “a place of calm, free and detached from social norms and restrictions, real and imagined, that have altered complete liberty”. With the current limit of both movement and space – a complete alteration of our physical understanding of liberty – how are you navigating this concept within your work?

The space in my work refers to a place that we are longing for. It refers to a freedom of movement and space that we are currently missing – and so can be included in this state that is desired. 

Although this freedom can only be achieved in the future, we are doing what we need to do today to achieve it tomorrow. One of the things I’ve come to learn is that there are certain freedoms that have to be sacrificed in the short term so that they can be enjoyed more sustainably in the long term. 

The space referred to in my work could therefore also be a place of action to include things that are being done now for the future, that is sacrificing our freedom of movement and space so that we can continue to enjoy them later, for longer.

Lastly – how has Tanzania responded to the pandemic, and in turn, how has this response affected your practice? Could you give us an idea of what it’s currently like to be a practicing artist, living and working under some form of ‘lockdown’?

The Tanzanian government has closed schools and other educational institutions, and restricted unnecessary public gatherings, but I have been in Uganda during this time and there is more strict lockdown here. I still paint everyday so despite the absence of social life, my routine has not been heavily affected. I’m grateful that I can still create.

This article is part of the Interview Series 1-54 in partnership with Artskop3437.

The works of Sungi Mlengeya will be presented by Afriart Gallery as part of of the 1-54 online edition on Artsy, available to all on 6 May 2020.

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It’s rather redundant now to say that the art world is embracing the digital world like never before. When the world was forced into lockdown, albeit in varying degrees, auction houses, galleries, artists, curators, museums and institutions had no choice but to follow what everyone else was doing: Connecting online

“How are local galleries surviving this global crisis? I am afraid the majority—and not only the youngest ones—are already struggling,” said Merriem Berrada, artistic director of the Museum of African Contemporary Art Al Maaden (MACAAL) in Marrakech. “Galleries and institutions must have a strong digital program.” The key, at least for the time being, is to forge a dynamic online presence.

Museums in Europe and North America, which have hosted an unprecedented number of shows on contemporary African art in recent years, are all closed now due to Covid-19. The many art fairs dedicated to the subject that have sprung up all over the world in London, Marrakech, New York, Lagos, Paris, Cape Town, Johannesburg and Doula, have been postponed. Like the rest of the art world, the African art scene is grappling with a loss of physicality and an increasingly, however temporary, digital world.

An Online Surge

The New York edition of 1-54 Contemporary African Art Fair, which hosts editions also in London and Marrakech, was supposed to take place in May, but has been postponed until 2021. What’s next up on the horizon is the fair’s London edition, due to take place on 8-11 October 2020. Still reeling from having to postpone the New York edition so suddenly, the fair scheduled for May has quickly been transferred to online. Showcasing 25 galleries from around the world, it will now be held exclusively on Artsy from 6-30 May, with VIP Previews on 4-5 May. “We will see how much the galleries are selling online and then understand what works and doesn’t work.” said Fair founder and director Touria El Glaoui from quarantine in the South of France. “All of my positive thoughts are for our fair in London in October.”

“The lesson to learn from this experience is that we might need to have a digital platform as an extension to the fair,” added El Glaoui. “We still have a lot of applications for our fair in October. For the galleries post-Coronavirus, the first thing they will want to do is get out there and sell in September and October—if they are able to do so physically.”

The scene has also catered to the development of comprehensive online platforms for African contemporary art. One, Artskop3437, which launched its Database and Collecting space in December 2019 and functions as space dedicated to fostering a better understanding of Art from Africa, is presently having discussions with new galleries wishing to join the collective project since the appearance of Covid-19.

“We are also working with museums to put their permanent collections online on Artskop3437, with institutions like MACAAL in Marrakech, for example, which has been a partner in the project since last December,” said co-founders Prince Malik and Jordan. The site works with leading galleries on the continent, including Galerie Cécile Fakhoury, SMAC gallery, Espace d’art contemporain 14°N 64°W and Sakhile and me, to name a few, partnering with such names to forge an extension of their physical space. “There is an urgent need to write, structure and archive African artistic creation though Art History and digital is an amazing tool,” continued the site’s co-founders. “While the fairs help galleries to sell art over 5,000 euros, Artskop helps them sell works for less than that figure with the direct online buying tool. We consider ourselves to be a tool for art education and the African art market.”

On an institutional level, major museums on the continent are moving their collections and exhibitions online just like their counterparts around the world. In Dakar, the Museum of Black Civilizations, which opened in December 2018, is now temporarily closed, but will film its exhibitions to show on national TV and online. “Everyone in Senegal will now be able to view the museum and its exhibitions, and hear experts,” said Oumy Diaw, a communications specialist based in Dakar. In this way, one could argue that African art history is now able to be viewed by a larger public than ever before—a positive outcome of the pandemic.

Meanwhile in Cape Town, the Zeitz MOCAA is offering 3D tours of the museum in partnership with Google Arts and Culture as well as upping their YouTube channel. In Marrakech, the Museum of African Contemporary Art Al Maaden (MACAAL), which opened in February 2018, is creating a special online program, which will include content surrounding their current exhibition “Have You Seen A Horizon Lately?” alongside live interviews with artists, curators, comedians and other art-world figures. In terms of community development, MACAAL’s bootcamp, conducted over two weeks, offers slots to attendees needing help with pitching ideas, project application, or specific needs, like building a business model.

Collaborative Efforts

South African blue-chip galleries like Goodman Gallery, which also has a new space in London on Cork Street, has opened its virtual doors across their locations in South Africa and the UK, offering an enhanced digital program filled with gallery exhibitions, weekly bespoke online viewing rooms, Instagram LIVE takeovers, and an online film festival. “Having served as a vital non-discriminatory space for artists during the apartheid years, Goodman Gallery will seek to draw inspiration from this profound legacy in this time of crisis,” said Goodman Gallery Director Liza Essers. “We will be re-thinking what role we can play to support and collaborate with our artists to affect social change and make a difference in this time.” The gallery has also launched a fundraising campaign selling limited-edition woven artist textiles in support of Witkoppen Health and Welfare Clinic in South Africa, a non-profit organization which services 1.3 million people across the most deprived communities in Johannesburg. The textiles are designed by gallery artists Ghada Amer & Reza Farkhondeh, Broomberg & Chanarin, Nolan Oswald Dennis, and Samson Kambalu.

Stevenson, which has spaces in Cape Town and Johannesburg, has similarly embraced the digital sphere. The gallery opened its show of work by South African painter Thenjiwe Niki Nkosi online and via Instagram for their Johannesburg space and in Cape Town they are currently exhibiting Udludlilali by Mawande Ka Zenzile. “For both these shows we’re pivoting our efforts online, working with filmmakers to give our audience the experience from home,” said the gallery’s press officer Sinazo Chiya. “Generally, we’re using the time to find other ways of making direct contact with the people in our ecosystem—we’re all in it together.”

Seeds of Hope

Against the odds of the present economic predicament and global pandemic, Sotheby’s sixth sale of Modern & Contemporary African Art (March 27-31), which had to convert quickly into its first online-only format after lockdown, was announced in the UK on March 23, realized $2,881,741 (estimate $3,587,000), featuring over 100 works from 58 artists across 21 countries.

The auction was led by Irma Stern’s Grape Packer from 1959, achieving $531,309 – well within-the pre-sale estimate $436,822-686,435. A painting by Nigerian master Ben Enwonwu, Sefi (1953) made $305,350 in its auction debut. Young star from DRC Eddy Kamuanga Ilunga’s Ko Bungisa Mbala Mibale 2 sold for $76,338 and his Ko Bungisa Mbala Mibale 3 made $53,436, proving is continued might on the market.

“The online platform has certainly allowed us to convert a live sale to online seamlessly,” said Hannah O’Leary, Head of Modern & Contemporary African Art at Sotheby’s.

“Interestingly, since the sale drew to a close, our collectors who usually prefer to bid in person or on the telephone have all agreed that bidding online was far easier than they ever imagined,” she added. “The most notable takeaway for me was the number of new buyers the online format brought: 35% of bidders in our sale were new to Sotheby’s, and almost 30% of bidders were under 40 years old. In fact, the auction saw almost 50% more bidders in comparison to the equivalent sale last year, and I am sure that accounts in part for the corresponding increase in turnover.”

While the debate is still on over whether online viewing rooms for art galleries result in good sales, the success of Sotheby’s Modern & Contemporary African Art Sale means that auctions, even when forced to work remotely, can still be highly profitable.

On the more charitable side, Arthouse Contemporary in Lagos, Nigeria, hosted The Online Charity Auction in support of Covid-19 aid, which closed at midnight on April 15. “The money raised will provide food for under-served communities in Lagos State as well as support emerging local artists during these challenging times,” said founder Kavita Chellaram.

New online ventures such as the recently launched Art and About Africa shine more light through the windows of confinement. Launched on February 20, the site aims to connect all players on the continent working in African art. Given the present crisis, it has also initiated ART: ESSENTIAL NEED, Emergency Grants for artists living in Africa.“We wanted to create a virtual connection against the physical walls of isolation and at the same time raise funds to support artists on the African continent,” said co-founder Lidjia Khachatourian who also runs AKKA Project, a gallery with branches in Dubai and Venice, with her husband.

“We asked artists to create artworks on their present state of isolation for the creation of an eBook to be sold and available on a Crowdfunding platform alongside limited-edition prints and original works from guest artists,” she explained. The money collected in exchange for the eBook, prints and works of art will serve to form the Emergency Grants, and all participating artists will benefit equally from the money raised.

The seeds of hope will grow as the art scene further adapts to the new structure that is emerging, however temporary or long lasting it will be. Art and creativity, it seems, are needed more than ever—even in the midst of the present chaos—even if just to provide hope. As Khachatourian states, quoting the famous Russian novelist Fyodor Dostoevsky. “Beauty will save the world.”

* Profile photo of this article is a work by the artist Nengi Omuku, Funke I, 2019. Oil on Sanyan. 91.4 x 61 cm. 36 x 24 in. Courtesy the artist and Kristin Hjellegjerde Gallery

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1-54 has carefully selected 20 leading galleries from 10 countries (Belgium, Côte d’Ivoire, Egypt, France, Germany, Italy, Morocco, Senegal, South Africa and the United Kingdom) to exhibit at the third edition of the fair in Marrakech. The fair will showcase the work of more than 65 artists, both emerging and established, working in a wide variety of mediums and from a range of geographical locations comprising 20 countries.

1-54 Marrakech will be accompanied by 1-54 Forum, the fair’s extensive talks and events programme, which will include artist talks and panel discussions with international curators, artists and cultural producers, to be held at La Mamounia, ESAV and Le 18 in parallel to the fair. For the 2020 Marrakech edition, 1-54 Forum will be curated for the first time by independent art space, The Showroom, London. The project will be led by The Showroom’s curatorial team and takes its methodology from the organisation’s programme of engagement with its local north-west London community, Communal Knowledge. Entitled On focus: Communal Knowledge at Large, 1-54 Forum will explore the potential of that methodology to be translated to other contexts. Nurtured by the insightful contributions of local and international agents, 1-54 Forum will become a platform to interrogate multiple practices of socially engaged art, leading to the production of a new roadmap of organisational and institutional collective methodologies originated by this encounter between artists, activists, institutions and community organisers.

1-54 will also present a wide programme of bespoke events in partnership with Musée d’Art Contemporain Africain Al Madeen (MACAAL), Musée Yves Saint Laurent Marrakech, Montresso* Art Foundation, Le 18, Comptoir des Mines Galerie and Institut Français, amongst others.

> Une aventure poétique, the first retrospective exhibition by Jacques Azéma at musée Yves Saint Laurent marrakech
> HAVE YOU SEEN A HORIZON LATELY?, a group exhibition curated by Marie-Ann Yemsi at Museum of African Contemporary Art Al Maaden (MACAAL)
> IN-DISCIPLINE #3 at Montresso* Art Foundation
> Comptoir des Mines Galerie presenting two solo exhibitions by Mohamed Arejdal and Fatiha Zemmouri in their art space in the heart of Gueliz
> Hamdoullah ça va! a group show with Mohamed Bourouissa and four young artists, presented by Sonia Perrin at DaDa
> Alter Ego Uprisings at Dar Moulay Ali, Maison de la France à Marrakech, a group show with works by artists Amina Benbouchta, Deborah Benzaquen, Soumiya Jalal, Seloua Ejjennane, curated by Elisa Ganivet

Galleries participating at 1-54 Marrakech 2020

• Afikaris
• AFRONOVA GALLERY
• Eclectica Contemporary
• galerie 127
• Galerie Cécile Fakhoury
• Galerie Nathalie Obadia
• Goodman Gallery
• GVCC
• Katharina Maria Raab
• L’Atelier 21
• Loft Art Gallery
• LouiSimone Guirandou
• Gallery MAGNIN-A
• Mashrabia Gallery of Contemporary Art
• Nil Gallery
• Primo Marella Gallery
• So Art Gallery
• UBUNTU art gallery
• VOICE gallery
• WHATIFTHEWORLD

1-54 Marrakech is located at La Mamounia:

La Mamounia Palace
Avenue Bab Jdid
Marrakech 40040
Morocco

20 – 21 February: by invitation only

Saturday 22 February
11:00 – 19:00

Sunday 23 February
11:00 – 18:00

1-54 Marrakech is free and open to all

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