This October, 1-54 Contemporary African Art Fair returns to Somerset House for its 13th London edition, reaffirming its role as a global platform for artists and galleries from Africa and the diaspora. Since its founding in 2013, the fair has become a cornerstone in the international art calendar, celebrated not only for showcasing pioneering artists but also for sparking vital conversations on identity, history, and the evolving narratives of contemporary African art. With more than 50 exhibitors and over 100 artists participating this year, the fair continues to expand both its reach and its influence.
At the heart of this vision is Touria El Glaoui, the fair’s founder and tireless advocate for African and diasporic voices in the art world. Born into a family deeply immersed in creative practice — her father, the Moroccan painter Hassan El Glaoui, left a profound mark on her curatorial journey — Touria has led 1-54 with a mission to bridge continents, cultivate meaningful connections, and nurture ecosystems that support artists beyond the marketplace. Over the years, she has transformed 1-54 into more than a fair: it has become a cultural force and community, connecting London, New York, Marrakech, and Paris through art and dialogue.
Africans Column had the privilege to sit down with Touria El Glaoui ahead of the 2025 London edition. In this exclusive interview, she reflects on the fair’s curatorial direction, its global footprint, the challenges and opportunities for African art in the international market, and her vision for the next decade of 1-54. She also shares personal insights into how her father’s legacy continues to shape her thinking and what it means to create sustainable spaces for women in the art world. The full conversation is below.
Africans Column: What makes this edition a pivotal moment for the fair, and how does it reflect the evolving narrative of contemporary African art?
Touria El Glaoui: The 2025 edition marks our 13th edition in London at Somerset House. We’re presenting more than 50 exhibitors and over 100 artists, many of whom are expanding the language and scope of contemporary African art. This edition signals both continuity and change, a moment to reflect on how far the fair has come and how the field itself has evolved, becoming more interconnected, ambitious, and globally recognised.
Africans Column: How have you shaped the 2025 edition to resonate with both local communities and international audiences, and what role does Somerset House play in anchoring this dialogue?
Touria El Glaoui: Somerset House has become an integral part of our identity, not only because of its historic setting, but because of its role as a vibrant cultural hub. London’s African and diasporic communities are essential to our audience, and this year’s programme includes collaborations and conversations designed to engage them directly. At the same time, the fair’s global network allows us to build bridges with collectors, institutions, and curators from around the world.
Africans Column: How has 1-54’s identity evolved across continents? What does “global” mean to you today?
Touria El Glaoui: Being global is not only about where we show but about how we connect and learn across contexts. Each city brings different strengths, London’s institutional base, New York’s market-driven energy, and Marrakech’s cultural and historical depth. These multiple geographies keep us linked to a wide range of perspectives and help us platform artists in ways that are both locally grounded and internationally relevant.
Africans Column: Can you give us a glimpse into the curatorial direction and special projects for the 2025 London edition?
Touria El Glaoui: This 13th edition will bring together over 50 international exhibitors and more than 100 artists, with strong representation from the African continent and the Global South. We’re excited to welcome 14 galleries making their London debut, and to see continued interest in both contemporary and modern African art, with artists ranging from Hassan Hajjaj and Seydou Keïta to Zenaéca Singh and Afeez Onakoya.
Special Projects this year include collaborations with Art Comes First, Everyday Lusaka Gallery, Picha Art Centre, the Nando’s and Spier Arts Trust partnership, and Seed Archives. We’re also continuing key partnerships with Christie’s and INFINIMENT COTY PARIS and we’re particularly proud to welcome Afreximbank as our new Lead Partner, strengthening our shared commitment to supporting African cultural production.
Africans Column: What are the central themes for this year’s FORUM, and how do these conversations shape wider understanding?
Touria El Glaoui: 1-54 Forum 2025 will bring together artists, curators, academics, and cultural leaders to explore themes central to Koyo Kouoh’s curatorial practice: decoloniality, cultural exchange, and the amplification of African and diasporic narratives. Curated by RAW Material Company, the Dakar-based art centre Koyo founded, the programme will blend historical reflection with forward-looking discussions, fostering cross-generational dialogue. The Forum will be accessible to all fair visitors and audio recorded for wider reach.
Africans Column: What are the structural challenges facing African art in the global market, and how is 1-54 responding?
Touria El Glaoui: There is still a lack of infrastructure and access for many artists across the continent. At the same time, African art remains underrepresented in major public and private collections. At 1-54 we’re working to address this by building long-term relationships with institutions, supporting younger galleries, and creating more entry points for collectors to engage meaningfully with the work.
Africans Column: What values guide your selection of galleries, and how do you see their responsibility evolving?
Touria El Glaoui: We prioritise galleries that are invested in their artists and who see the fair as part of a wider cultural conversation. As expectations shift, galleries are increasingly called to act not just as commercial agents but as supporters, advocates, and producers. We see our role as helping them connect with new audiences and platforms that allow them to sustain that work.
Africans Column: What would it take to bring 1-54 to another African city, and how do you balance ambition with supporting existing local fairs?
Touria El Glaoui: We’re always open to new possibilities but careful about how we expand. Any new edition would need to respond to local needs and be built in collaboration with existing networks. We want to complement and not replace the growing ecosystem of African-led fairs and institutions.
Africans Column: How has your father’s legacy shaped your curatorial thinking, particularly for the London edition?
Touria El Glaoui: Growing up, art was not something I encountered in a gallery or museum, it was part of our home. My father’s studio was its heart, and I spent my childhood surrounded by his creative process. I now see it as the earliest seed of my understanding of art as both personal narrative and public expression. Through organizing and co-curating his exhibitions, like the pairing of his work with Winston Churchill’s in London and retrospectives in Morocco, I learned the importance of narrative, context, and empathy. My father’s legacy didn’t just inspire me but equipped me. It gave me a deep appreciation for the interplay between personal history and public curation, and that mission shapes the London edition of 1-54, placing artists at the center and amplifying their voices in spaces once closed to them.
Africans Column: What advice would you give to young African and diasporic collectors visiting 1-54 for the first time?
Touria El Glaoui: Take your time. Ask questions. Engage with the work, the gallerists, and the artists. Collecting is not just about acquisition, it’s about building knowledge and contributing to a larger ecosystem. The most meaningful relationships often start with curiosity and grow over time.
Africans Column: What does it mean to you to create space for women across the African art world?
Touria El Glaoui: It’s essential that we support not just women artists but also women behind the scenes, as gallerists, curators, writers, and organisers. Representation needs to be structural. I’m proud that 1-54 is a platform where women from across the continent and diaspora are shaping the future of the art world.
Africans Column: What has surprised you most since launching 1-54, and what do you hope it stands for in the next decade?
Touria El Glaoui: The strength of the community that has formed around the fair has been the biggest surprise and the greatest reward. As we look to the future, I hope 1-54 continues to be a space of discovery, connection, and long-term support for the artists and voices that are defining contemporary African art.
As 1-54 London enters its 13th edition, Touria El Glaoui’s vision continues to shape the global conversation around contemporary African art. What began as a bold initiative in 2013 has evolved into a platform that not only champions African and diasporic artists but also redefines their place within the international art ecosystem. With each edition, the fair demonstrates resilience, adaptability, and innovation, positioning itself as both a marketplace and a movement. This year’s edition reaffirms 1-54’s enduring role in expanding horizons, challenging narratives, and cementing its legacy as a vital cultural force.
