1-54 Marrakech 2025: A Full-On Experience of African Contemporary Art

Pauline Loeb at La Mamounia hotel for 1-54 Marrakech 2025. Skirt by L’Amusée Paris © artfairmag

1-54 Marrakech: Clearly more than a fair, it’s a full-on experience! Founded by Touria el Glaoui, the Moroccan edition was launched in 2018, complementing the London edition, established in 2013, and the New York edition, launched only two years later. Nestled in the breathtaking La Mamounia hotel and the trendy Dada, it’s the unmissable rendezvous that allows collectors to discover the best of contemporary African art in an unmatched setting.

Right from the entrance of the fair, within one of the hotel’s wings, my eye was immediately drawn to an incredible portrait by Ghanaian painter Amoako Boafo, showcased by Gallery 1957 (illustrated below). My excitement was clearly shared by the Tate Museum in London, which acquired it on the first day! Among the thirty participating galleries, 22 had stands at La Mamounia. It was hard to resist the works of Joshua Michael Adokuru, a Nigerian artist represented by Ross Sutton Gallery, who uses wool strings, nails, and acrylic to depict Black human figures. Right next to it, at the Loft Art Gallery stand, the large ceramics by Bouchra Boudoua—with their alternating matte and glossy finishes—completely captivated me.

The human figure was much featured, and several artworks really struck me. At the Atelier 21 stand, two canvases by M’barek Bouhchichi, depicting a man and a woman against a blood-red background, were simply sublime. The first was purchased on the fair’s opening day. “Off Duty”, depicting a tired worker, holding a paper stating ‘Get Rich or Die Trying’ by Adjei Tawiah, was also sensational. There was also a significant presence of abstraction, especially focused on the material. I particularly think of the flawless stand of Abla Ababou Galerie from Rabat, which showcased four promising artists: Ilias Selfati, Fatiha Zemmouri, Hakim Benchekroun, and Noureddine Amir.

One of the special projects at 1-54 was the Kalhath Foundation, whose mission is to recognize, promote, and sustain craft excellence in Indian embroideries and related textile arts. The foundation featured a bright red stand, showcasing the stunning embroideries by Ammina Benbouchta. A special mention for ‘The Fall of Icarus’, made in 2024 using Resham threads, and ‘Cold Flames 2:3’, enhanced with gold threads and displayed in a gilded molded wooden frame.

Amina Benbouchta’s embroideries featured by Kalhath Foundation at 1-54 Marrakech 2025 © artfairmag

The atmosphere shifts at Dada, a more streamlined and decidedly cool space, the second location of the fair, hosting 7 galleries including 3 special projects. I must say I was generally very charmed by all the stands, each different yet quite complementary. The African Art Hub stood out with the shimmering colors of the fishing nets used by Kingsley Ayogu to exorcise the pain related to the loss of his brother. The personal story of the artist, his artistic journey, and his works deeply moved me. Additionally, having known TAAH from its beginnings, I am delighted to see how the gallery fought to establish itself. It is now present at several major fairs, a testament to the efforts of its Managing Director Abraham Abia.

Ayogu Kingsley’s solo show at The African Art Hub, 1-54 Marrakech 2025 © artfairmag

Right next booth, I was delighted to reconnect with a gallerist I had met at the 2024 edition of the fair: Myriem Himmich. Rarely have I encountered someone as humane and professional. Passionate and committed, she fights tooth and nail for the artists she represents, who are gradually gaining well-deserved recognition in Morocco and abroad. Her booth featured three artists, offering a beautiful diversity of styles and materials. Valérie Ohana showcased a dreamy small canvas in shades of green, along with two larger, more mysterious figures in prayer rendered in brown tones. There were also the charming ceramics of Zineb Mezzour, a Swiss-Moroccan artist based in Marseille, France. The dendrite cells visible on each piece are a true ode to water and life broadly. Inspiring. Finally, I was particularly struck by the work of bas relief artist Bouchra el Menjra, whose pieces are rounded and colorful, exploring the passage of time and its impact on the human body, especially the female form.

Touria el Glaoui cleverly extended her event beyond just an art fair by creating a rich and varied cultural itinerary. This allowed collectors, journalists, and other guests to dive deep into Marrakech’s contemporary art scene. A highlight for me was the night tour at MCC Gallery, located on the outskirts of the city. We enjoyed a private tour of Mo Baala’s exhibition “Under The Silver Tree,” led by the artist himself. Mo’s raw and honest presentation of his work, which focuses more on the stories his paintings tell—especially about his relationship with his parents—was deeply impactful. He memorably stated, “I’m not a decorator, I’m a fuc***g artist!

Mo Baala presenting his exhibition at MCC Gallery, during 1-54 Marrakech 2025 © artfairmag

At MCC Gallery, the “Mute Shapes” exhibition showcased Houda Kabbaj’s intriguing work. She uses photography to explore natural elements, creating images that reveal the unique textures and forms of nature. In her process, she experiments in the darkroom, treating it as a lab where she can further interact with these natural features. Her approach combines fieldwork with studio experiments to delve deeper into the essence of the natural world.

Houda Kabbaj, “Mute Shapes” at MCC Gallery, during 1-54 Marrakech 2025 © artfairmag

Art Dealers Interviews

For once, no paintings in my interviews! Texture, texture, texture! At The African Art Hub stand, artist Kingsley Ayogu himself introduced me to his work, created from colorful fishing nets glued onto canvas. The different layers symbolize the various stages of grief.

At the stand next to it, Myriem Himmich spoke to me about Bouchra el Menjra’s work, which explores the impact of time on the human body. Playful yet thought-provoking pieces.

At Atelier 21, artist Margaux Derhy—whose embroidery work I’ve been following for years—presented a piece from her new series, more refined and minimalist than her previous ones, particularly with the absence of facial features on the figures. I loved the poetry and mystery it evoked.

Finally, at Primo Marella Gallery, Daniele introduced me to a massive piece by Samuel Nnorom, Rise and Cool, made from a wide variety of wax fabrics. The work highlights Africa’s cultural diversity while also addressing the issue of unfair competition from China, which floods the market with non-authentic wax fabrics.

How Much Does It Cost?

Absolute crush on this portrait by Amoako Boafo—presented by 1957 Gallery—which I would have loved to take home if the Tate Gallery hadn’t beaten me to it! I don’t know the acquisition price, but I’m not sure it would have been within my budget anyway, so no regrets! A great discovery as well with Into Matters #1 by Zineb Mezzour at Myriem Himmich Gallery, whose work I’ve already mentioned, available for €9,000. The mixed-media diptych on wood by Fatiha Zemmouri at Abla Ababou Galerie was priced at €27,500 and struck me as incredibly powerful, with its mesmerizing lines. Finally, I absolutely loved Off Duty by Adjei Tawiah, showcased at So Art Gallery and priced at €24,000.

After just two days at 1-54 Marrakech 2025, the fair still lingers in my mind more than a month later. It’s not just about discovering incredible artworks—it’s about the energy, the encounters, and the stories behind each piece. This year, I was struck by the diversity of artistic expressions, from bold material explorations to deeply personal figurative works. Some pieces fascinated me, some moved me, and a few I would have loved to take home (if only the Tate hadn’t beaten me to it!).

More than an art fair, 1-54 Marrakech is a true celebration of African creativity. And if this edition was anything to go by, I already can’t wait for the next one!