This post was originally published on artnews.com
On August 17, some 125 firefighters from the London Fire Brigade responded to a fire that raged on the roof of the west wing of Somerset House in the center of the British capital. How it began is still being investigated. However, no one was injured nor was there damage to any of the precious artworks like Vincent Van Gogh’s Self-Portrait with Bandaged Ear (1889) that are stored in iconic Georgian-era complex that houses the Courtauld Gallery as well as offices and studios.
Each October, Somerset House is also the site for four days to the 1-54 Contemporary African Art Fair. The gallery spaces used for 1-54 were not impacted by the fire and the fair, scheduled to open on October 10, will go on as planned, a spokesperson for Somerset House told ARTnews.
“Somerset House was able to commence with a phased reopening on Tuesday 20 August beginning with the return of our community of artists, makers and creative start-ups based in Somerset House’s New Wing, including Somerset House Studios artists, followed by those based in West Wing and South Wing in the days afterwards,” the spokesperson added.
Somerset House reopened to the public on August 24; the venue is currently hosting a major fashion exhibition “The Lore of LOVERBOY,” dedicated to powerhouse designer Charles Jeffrey, and that day it hosted “Vogue Rites: The Mighty Crown Ball,” a Ballroom and Voguing competition. And on October 11, Somerset House will open, as scheduled, “Making a rukus!, Black Queer Histories through Love and Resistance,” which will look at the vibrant world of rukus! Federation, a living archive and art project celebrating Black LGBTQIA+ cultures and history, and is curated by filmmaker and cofounder Topher Campbell.
The current Somerset House was constructed in 1776 by the British architect William Chambers, but it’s much older than that. Originally built as a palace in 1547, it was the home of a few famous inhabitants including Queen Elizabeth I during the reign of her elder half-sister Queen Mary I, as well as Anne of Denmark, the wife of King James I, in the 17th century. After the Glorious Revolution, the building went into an extended period of decline mainly due to the lack of funds for its upkeep. The original building was demolished and rebuilt into the Georgian-era, neoclassical complex that stands today.
The important cultural institution has been the home of the London iteration of 1-54 since its inception in October 2013. For the upcoming 12th edition, 1-54 will present more than 60 exhibitors with the works of over 160 artists across various mediums including photography, sculpture, painting, performance, mixed media, and installation. Renowned artists like Mous Lamrabat, Esther Mahlangu, and Tuli Mekondjo, will featured in the fair, alongside up-and-coming artists like Freya Bramble-Carter, Kofi Perry, Layo Bright and Dina Nur Satti.
“For us, it’s essential to highlight both established and emerging artists to create a fair that is not only unique but also truly representative of the global contemporary art scene. That’s part of what defines 1-54,” 1-54 founder Touria El Glaoui told ARTnews.
As part of this year’s special projects, British Nigerian multi-disciplinary artist and designer Slawn has been selected to transform Somerset House’s courtyard with two life-sized London double-decker buses. Titled Transition, this project is a collaboration with Saatchi Yates and will serve as a canvas for his unique approach to art-making.
“Through spontaneous line drawings, vibrant colors, and playful figures, Slawn satirizes modern society by using humor and caricature to create striking images. With Transition, the use of London buses reflects ideas of accessibility, diversity in social connections, and the energy of urban cultural symbols,” El Glaoui said. “What’s particularly intriguing about his work is how it resonates with both younger and more contemporary audiences as well as those from established, institutional backgrounds.”
This edition will also have a strong focus on art from Brazil with galleries such as Galeria Karla Osario, Portas Vilaseca, and Verve exhibiting the work of Brazilian artists. Other international galleries in Africa and Europe will showcase Brazilian artists, such as Matheus Marques Abu, Ana Beatriz Almeida, Alexis Peskine, Diambe da Silva, Caio Marcolini, Zéh Palito, Diambe da Silva, and Nadia Taquary. (This increased focus on Brazilian art is likely due to this year’s Venice Biennale, organized by São Paulo–based curator Adriano Pedrosa, who spotlit dozens of artists from his home country in the exhibition.)
Other highlights include French Moroccan artist Sophia Kacimi’s chess game installation Zoubida, which aims to showcase how craftsmanship and tradition can foster new possibilities through the inclusion of bold and colorful, jacquard upholstery fabrics that are staples in Moroccan homes. “She welcomes us into her living room, where a timeless game familiar to all generations and cultures—chess—takes center stage,” El Glaoui said. “The project serves as a laboratory of craft experimentation, focusing on reviving traditional handwork by collaborating with local artisans from Fes and Rabat.”