LUXURY LONDON
C U LT U R E
DIVERSE PERSPECTIVES
F O L LOW I N G S O M E R S E T H O U S E ’ S L A R G E S T 1 - 5 4 A F R I C A N A R T FA I R TO DAT E , L U X U R Y LO N D O N A S K S F I V E E M E R G I N G A R T I S T S H O W M OV I N G TO T H E C A P I TA L A F F E C T E D T H E I R C R E AT I V E O U T P U T
Words: Rob Crossan
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One such fair is 1-54, which travels between London, New York, Marrakech and Paris showcasing contemporary works solely from Africa and its diaspora. Founded by Franco-Moroccan businesswoman, Touria El Glaoui, the fair is named in reference to the 54 countries that constitute the African continent. October saw Somerset House host the largest 1-54 to date, providing a stage for 48 artists from 23 countries. Yet one narrative that never seems to be thoroughly explored, to this exhibition-goer at least, is the impact that moving to London can have on an artist from Africa. Luxury London probed the issue by asking five emerging artists how relocating to the capital affected their creative output – and what they themselves think about the term ‘African art’.
o describe a piece of art as being ‘from Africa’ is about as helpful and informative as stating that grapes in a glass of wine are ‘from Europe’. Or that the fish on your plate was ‘from the sea’. And yet, ‘African art’ is routinely offered as an adequate quartet of syllables with which to denote an entire continent’s creative output. Thanks to a growing number of low-key galleries and exhibitions, however, things are starting to change. Sourcing dynamic and exciting works from Cape Town to Cairo, a range of fairs are beginning to challenge the indolent docket that is ‘African art’, by discussing the provenance and process behind culturally, geographically and aesthetically distinctive oeuvres.
LUXURYLONDON.CO.UK
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