Art – 54 Magazine

From 30 January to 2 February 2025, the 1-54 Contemporary African Art Fair returns to Marrakech, bringing together an extraordinary mix of established names and emerging talent from Africa and its diaspora. For art lovers, this sixth edition promises four days of powerful visuals, cultural exchange, and storytelling that stretches far beyond the gallery walls. Set against the timeless grandeur of La Mamounia and the contemporary vibrancy of DaDa, located in the heart of the Medina, the fair will once again pair Marrakech’s storied heritage with modern artistic expression. These two iconic venues create a seamless experience where art and place converge beautifully.

This year’s edition welcomes 30 exhibitors from 14 countries, with nearly half representing galleries from across the African continent. Ten Moroccan-based galleries will anchor the event, underscoring the fair’s deep connection to the local art ecosystem. Newcomers like C+N Gallery CANEPANERI from Milan, space Un from Tokyo, Galerie Farah Fakhri from Abidjan, Hunna Art from Kuwait City, Le Violon Bleu Gallery from Sidi Bou Said, and Abla Ababou Galerie from Rabat add a fresh perspective to the lineup. Since its launch in Marrakech in 2018, 1-54 has evolved into a vital hub for African contemporary art, attracting international collectors, curators, and art lovers who come to engage with works that span painting, sculpture, installation, and textile. It strikes a perfect balance between honoring tradition and embracing innovation.

Isabelle.D, Mensonge et Vérité, 2024, Fibers on canvas, 55 x 55 cm

Chigozie Obi, Cozy Comfort, 2024, Oil and acrylic on canvas, 137 x 106 cm. Courtesy C+N Gallery CANEPANERI & the Artist

This year’s Special Projects spotlight the remarkable work of artist Amina Benbouchta in collaboration with the Kalhath Foundation. During her residency at the Kalhath Institute, Benbouchta worked alongside twenty Indian master embroiderers, weaving contemporary vision with traditional needlework techniques. Her art uses embroidery as a language of resistance, healing, and reflection. Motifs such as crinolines and hybrid figures transform symbols of restriction into powerful statements about memory, identity, and cultural narratives. Benbouchta’s work invites viewers to reflect on untold stories and examine the relationship between personal histories and collective traditions.

Founding Director Touria El Glaoui describes the fair as a celebration of diversity and innovation, perfectly situated within Marrakech’s vibrant cultural landscape. Longstanding partners like Fondation TGCC, Think Tanger, and L’appartement 22 add to the programming with curated talks, installations, and collaborative projects that merge local and international perspectives. This robust lineup ensures that visitors engage deeply with art that challenges, inspires, and connects.

The experience doesn’t stop at 1-54’s venues. Marrakech itself becomes an extension of the fair, offering countless opportunities for exploration. Wander through the maze-like alleys of the Medina, take in the tranquil beauty of Jardin Majorelle, or visit spaces like MACAAL (Museum of African Contemporary Art Al Maaden). As the city pulses with energy during the fair, creativity spills into every corner, making it a truly immersive experience for those who appreciate art’s ability to tell profound human stories.

Whether you’re an avid collector, a curious observer, or simply in search of inspiration, 1-54 Marrakech is not to be missed. Its exceptional programming, stunning locations, and the sheer diversity of works on display make it a standout on the global art calendar.

Image credits above from left to right: Alex Burke, Library, 2024, Mixed media, wood and fabrics, 71 x 64 x 12 cm. Courtesy of the artist and Loeve&Co, Taher Jaoui, Background noise, 2023, Oil, acrylic and charcoal on canvas, 160 x 135 cm. Courtesy of GALERIE FARAH FAKHRI and Taher Jaoui, Maïssane Alibrahimi, Socle de la couleur, 2021, 3D pen on floor tiles, Variable dimensions. Courtesy of Hunna Art, Malick Welli, Series Forgotten paradise, 2024, Photography, 120 x 160 cm, Edition of 3 + 1 AP. Courtesy of L’Atelier 21, Casablanca, Morocco, M’barek Bouhchichi, Seul, 2024, Mixed media on rubber, 115 x 115 cm. Courtesy of L’Atelier 21, Casablanca, Morocco, Aliou Diack, Dialogue 2, 2024, Mixed Media on Canvas ,180 x 130 cm. Courtesy of space Un

Main image credit: Sara Benabdallah, Sacred Tree (Large Format), 2024, Fujiflex print

Fair Dates: 30 January – 2 February 2025 | Press Preview: 30 January 2025
Venues: La Mamounia & DaDa, Marrakech | More Info: 1-54.com

The Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) is currently presenting One Must Be Seated, an acclaimed solo exhibition by Ghanaian-American artist Rita Mawuena Benissan. Opened on 13 November 2024, this groundbreaking exhibition runs until 5 October 2025 and delves into the cultural traditions of Ghana, particularly the symbolic practices of Asante chieftaincy.

Image credit: Dillon Marsh, courtesy of Zeitz MOCAA

Exploring Asante Heritage Through Art

The exhibition places a spotlight on the enstoolment ceremony, a significant ritual marking the appointment of a chief. Through a blend of traditional symbolism and contemporary artistry, Benissan reinterprets the iconic royal stool and umbrella, offering visitors a layered perspective on the cultural heritage of Ghana. Her multidisciplinary approach combines sculpture, photography, video, and textile work to create a deeply immersive experience.

The Royal Umbrella Reimagined

Central to the exhibition is Benissan’s exploration of the royal umbrella, a longstanding emblem of authority in Asante tradition. Historically, this object has represented leadership, concealing the thoughts of its bearer while signifying their elevated status. Benissan collaborates with skilled artisans from Kumasi, Ghana’s Asante capital, to craft her pieces, blending traditional techniques with her own artistic innovations. Her work honours these artisans as co-creators, emphasising their crucial role in preserving Ghanaian heritage.

One standout piece, The Triumphant King Rules (Ɔhene a wɔdi Nkonim No Di Tumi) (2023), features a reinterpreted umbrella made with rich velvet and kente cloth, adorned with archival portraits of past chiefs. This fusion of historical imagery and contemporary textiles bridges past and present, celebrating the enduring relevance of cultural symbols.

An Immersive Journey

The exhibition is designed to mirror the stages of an enstoolment ceremony, guiding visitors through symbolic spaces. Works like We Process at Sunrise (2024), a detailed tapestry depicting the palace at dusk, and We Give Power to You (2024), an umbrella piece rendered in green tones, lead the journey. The experience concludes with a striking golden throne, symbolising the culmination of leadership and legacy.

About the Artist

Rita Mawuena Benissan, born in Côte d’Ivoire and raised in the United States, is celebrated for her research-based practice that bridges history and contemporary art. Her works are part of prestigious collections globally and continue to resonate with audiences through their cultural depth and artistic innovation.

Rita Mawuena Benissan | Image credit: Lauren Theunissen

Exhibition Details

One Must Be Seated is part of Zeitz MOCAA’s ongoing series of solo exhibitions highlighting African and Diasporic artists. It is generously supported by Gucci, the Mellon Foundation, and BMW South Africa.

Image credits above: Dillon Marsh, courtesy of Zeitz MOCAA

Main image credit: Rita Mawuena Benissan, Detail of We Process at Sunrise, 2024. Embroidery on canvas, 250 x 500cm. Image: Nii Odzenma; Courtesy of the artist and Gallery 1957.

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