The 1-54 Contemporary African Art Fair has officially returned to the hallowed halls of Somerset House for its 14th London edition, reaffirming its status as the world’s premier platform for contemporary art from Africa and its global diaspora. This year’s installment is particularly significant, not only for the high caliber of contemporary works on display but for the bold, retrospective shift in focus that organizers have integrated into the fair’s programming. In a move that bridges the gap between historical legacy and contemporary practice, the fair has introduced a new, curated section dedicated entirely to African modernism, signaling a commitment to preserving and elevating the historical narratives that paved the way for today’s vibrant art market.
Titled "West Wind," this special presentation is curated by noted art historian Nancy Dantas. The title draws profound inspiration from Miriam Makeba’s 1966 anthem for unity, a song that captures the spirit of resilience, global connectivity, and the shared aspirations of a continent in the midst of profound political and aesthetic liberation. By invoking the legacy of Makeba—a figure who utilized her platform to advocate for civil rights and African independence—the fair frames the "West Wind" section not merely as an exhibition of objects, but as a testament to the ideological fervor of the mid-20th century.
The timing of this initiative is far from coincidental. It arrives in the wake of a notable void in the international art market; in 2025, Sotheby’s made the decision to close its dedicated African modernism department, a move that left many collectors, scholars, and institutions concerned about the future visibility of this crucial art-historical period. By stepping into this space, the 1-54 Contemporary African Art Fair has demonstrated its role as a steward of cultural history, ensuring that the masters of the mid-20th century continue to receive the rigorous attention and institutional focus they deserve.
The "West Wind" presentation serves as a centerpiece of the fair, showcasing the breadth and complexity of a period characterized by post-colonial transformation. Among the luminaries featured in the section are Ibrahim El-Salahi, the Sudanese pioneer whose abstract, calligraphic style has redefined the dialogue between African traditions and Western modernism; Bertina Lopes, the Mozambican-Italian artist whose work masterfully explores themes of identity and political struggle; and Seyni Awa Camara, the Senegalese sculptor whose evocative, clay-fired figures are celebrated for their profound emotional depth and mastery of form. These artists represent a generation that navigated the turbulent waters of independence, utilizing their creative output to forge new visual languages that were distinctly African yet deeply engaged with the global modern movement.
For the collectors and visitors navigating the corridors of Somerset House, the inclusion of these historical masters adds a vital layer of context to the contemporary works surrounding them. It highlights the lineage of artistic thought, tracing the evolution from the mid-century push for liberation to the current, pluralistic expressions of African identity found in the contemporary booths. The juxtaposition creates a dialogue between past and present, challenging audiences to view contemporary African art not as an isolated phenomenon, but as part of a long-standing, robust tradition of innovation.
As the fair progresses through the week at Somerset House, the atmosphere is one of intellectual rigor paired with a celebratory spirit. The 14th edition continues the fair’s tradition of transforming the iconic London venue into a hub of cultural exchange, with galleries from across the continent and the diaspora converging to present a diverse array of mediums, from painting and sculpture to photography and immersive installations.
Beyond the "West Wind" section, the fair continues to act as a vital bridge between African creators and the international art community. The logistical success of the 14th edition reinforces the growing demand for African art on the global stage. Even as the market for contemporary works expands, the fair’s leadership has recognized that the sustainability of this interest depends on a comprehensive understanding of the historical foundations of the field. By dedicating resources to research, curation, and the display of modernists, 1-54 is effectively nurturing a more sophisticated collector base and ensuring that the narrative of African art remains firmly in the hands of those who understand its unique cultural and historical nuances.
The selection of galleries and the curation of the fair overall reflect a meticulous attention to detail. Dealers have brought works that range from the deeply personal and introspective to the overtly political, capturing the varied realities of life within the continent and in its far-reaching diaspora. The energy within the plaza at Somerset House, often animated by performances that blend traditional movement with contemporary choreography, serves as a physical manifestation of the themes being explored inside the galleries. These performances, which engage directly with the historical architecture of the site, provide a stark reminder of the dynamism inherent in African artistic expression.
As visitors move through the various levels of the fair, the impact of Nancy Dantas’s curation becomes increasingly clear. "West Wind" does not feel like a separate, dusty museum display; rather, it feels integrated into the lifeblood of the fair. It serves as a reminder that the "contemporary" is always in conversation with the "modern." By honoring the legacy of artists like El-Salahi and Camara, the fair creates an environment where the achievements of the past are actively used to contextualize the challenges and triumphs of the present.
The 1-54 Contemporary African Art Fair remains a critical touchstone in the global art calendar. Its ability to pivot and respond to market shifts—such as filling the gap left by major auction houses—speaks to its agility and its deep commitment to its mission. As the fair enters its final days at Somerset House, the consensus among attendees and critics alike is that this year’s edition has succeeded in its dual mandate: it has celebrated the cutting-edge voices of today while reinforcing the historical pillars upon which their work stands.
The success of the 14th edition is a testament to the persistent and growing relevance of the African art market. Whether through the lens of political history or aesthetic experimentation, the works on display at 1-54 continue to challenge conventional Western art-historical canons. The fair is not merely an event, but an ongoing project of documentation and exhibition that continues to shape how the world perceives the richness of Africa’s cultural landscape. As the "West Wind" continues to blow through the galleries of Somerset House, it serves as a powerful reminder that the history of art is a living, breathing entity, one that is constantly being reclaimed, rewritten, and reimagined by those who carry the torch of cultural innovation. Through this week’s programming, 1-54 has once again proven that it is the essential destination for anyone looking to understand the trajectory of modern and contemporary African art in the 21st century.