The 2017 edition of the 1:54 Contemporary African Art Fair took place at Somerset House in London, between Thursday 5th and Sunday 8th October. Now in its fifth year, the event featured contributions by more than 130 artists from continental Africa and the global African diasporas, presented alongside a programme of stimulating talks and panel discussions led by arts scholars, curators, gallerists and cultural commentators drawn from around the world.
Building on the successes of previous editions of 1:54, shown in London, New York and Morocco since 2013, this edition provided access to a broad range of new works by established artists and emerging new talent from 17 nations – including notable contributions from the celebrated painter and collagist Godfried Donkor from Ghana; textile artist and mixed media installationist Safaa Erruas from Morocco; metalwork sculptor and anti-war activist Gonçalo Mabunda from Mozambique; and the internationally renowned textile sculptor Abdoulaye Konaté from Mali, most well-known for creating breath-taking, large-scale ‘offrandes’ out of delicate fragments of fabric stitched together to create multicoloured fine art tapestries.
In a similar way to the impression Zak Ove’s commissioned installation piece “Black and Blue: The Invisible Man and the Masque of Blackness” (2016) created a visually arresting centre-piece for the courtyard at Somerset House last year, the major architectural installation shown in the Fountain Court was “Summer Surprise” (2017) by Pascale Marthine Tayou from Cameroon. This vast, wooden-framed structure is described by the artist as referencing and symbolising the function of a”Toguna” – a traditional public building native to Mali, built for the purpose of discussing community and constitutional issues, and usually located at the heart of village life to enable it to serve as a key meeting point for debate and intellectual exchange.
An important feature of this year’s fair was the interactive installation created by Morocco-born, UK-based artist Hassan Hajjaj, displayed in three rooms adjacent to the terrace on the ground floor at Somerset House. Titled “La Caravane” (2017), this work featured a series of large, full-colour photographic portraits and also a sequence of videos presented as interactive portraits along the length of the central gallery, showing musicians, dancers, singers and poets dressed in colourful outfits and performing extracts of their work in studio settings framed by customised textiles and soft furnishings. This central gallery was also designed as an auditorium, where visitors could sit and listen to the performances as though they were sitting in a Moroccan tea room being entertained by live artists. Continue reading “Review of the 2017 edition of the 1:54 Contemporary African Art Fair in London”