TOURIA EL GLAOUI : BUILDING BRIDGES TO AMPLIFY AFRICAN ART

Moataz Nasr, The Mac Gate, 2019. DR

Founded by Touria El Glaoui, daughter of the internationally renowned Moroccan painter Hassan El Glaoui, the 1-54 Contemporary African Art Fair has established itself as the leading platform for contemporary African art. After London and New York, the fair returned to Marrakech from 5 to 8 February 2026 for its seventh edition, reaffirming the city’s role as an artistic crossroads between Africa and the wider world.

Between the iconic La Mamounia and new emblematic venues, this ambitious edition brings together international galleries, leading artists and emerging scenes. Touria El Glaoui reflects on her journey, her vision, and the challenges of an event that has now become unmissable.

What led you to create 1-54?

I grew up surrounded by art, in close contact with an artist and with passionate discussions about creation and transmission. Being the daughter of the painter Hassan El Glaoui meant understanding, from an early age, what it means to devote one’s life to an oeuvre, with all that this entails in terms of rigour, doubt and freedom.

I never felt the need to produce artworks myself in order to exist in that world. What I did feel, however, was a strong desire to create frameworks and contexts in which artists could be seen, understood and recognised at their true value. Over time, I came to realise that my role would be that of a bridge-builder, a mediator, almost an architect of ecosystems.

There is also a historical and political dimension to this. Growing up between Morocco and Europe exposed me very early on to the absence of African and diasporic artists from the dominant narratives of art history. Founding 1-54 Contemporary African Art Fair was a response to that absence: a way of transforming a personal frustration into a collective project.

Emmanuel Andre

Entrance La Mamounia_1-54 Marrakech 2025. Courtesy Mohamed Lakhdar

Fatima Mazmouz, 08 Mauresque Voile, 2023, Photography, 60 x 80 cm. Courtesy of MCC Gallery

What does 1-54 stand for?

The name “1-54” refers to the 54 countries of the African continent, each with a distinct cultural identity and a rich history. In 2013, it was essential to create a platform capable of presenting contemporary African art within a global context. London and New York were strategic choices, as major crossroads of the international art world.

At the time, African art was largely viewed from the outside. Our ambition was precisely to shift that gaze and to offer African and diasporic artists a space for visibility and recognition commensurate with their talent.

How do you see the evolution of the place of art in Marrakech?

Today, there is a genuine momentum, driven by the emergence of new galleries, the growing presence of both local and international collectors, and an increasingly vibrant artistic scene. Emblematic institutions such as the Yves Saint Laurent Museum Marrakech, the Jardin Majorelle, as well as private foundations including MACAAL and the Fondation Montresso*, have played a decisive role in this transformation.

There is, however, still ground to cover. The energy is clearly there; the challenge now is to consolidate a strong, structured and sustainable ecosystem.

Was establishing 1-54 in Marrakech both a natural choice and a bold understanding?

It was both a return to my roots and a considered commitment. Marrakech is a city to which I feel deeply connected, through its cultural heritage as well as its unique geographical position between Africa and Europe. I have long believed in its potential to become a genuine cultural crossroads: a place where African art can engage in dialogue with the rest of the world.

When we launched the Moroccan edition, we were convinced that Marrakech could offer a space for dialogue between different cultures and fertile ground for the emergence of new collaborations.

You spoke of African art long being viewed from the outside. Is that beginning to change?

Yes, absolutely. African art is currently at a pivotal moment. Artists from the continent and the diaspora are enjoying growing recognition, both on the international stage and across Africa itself. We are witnessing a genuine two-way movement: artists exhibit in Paris, London and New York, but also in Addis Ababa, Dakar and Lagos. This dialogue between scenes is essential and it continues to grow ever stronger.