History
Nestled on Railton Road in Brixton, South London, 198 Contemporary Arts and Learning, affectionately known as '198' by locals, is more than just a gallery – it's a vibrant reflection of the multicultural tapestry that is Lambeth.
Brixton, a melting pot where diverse communities converge, has been shaped by the contributions of the African Caribbean community since the 1950s. With a rich cultural tapestry and an anti-establishment spirit, the borough has become a creative epicentre where myriad languages and dialects resonate, making it a microcosm of London's dynamic life.
The gallery was born out of the social turbulence of the 1980s, a period marked by heightened racism and the introduction of SUS laws with the indiscriminate stop-and-search practices against young Black men. The summer of 1981 witnessed profound unrest, laying bare societal tensions that erupted into serious street disturbances – a precursor to further unrest in 1985 when the home of Black mother Cherry Groce was stormed by the police. These turbulent events catalyzed the birth of 198 Gallery, providing a platform for Black voices and regenerative projects to empower the community politically, economically, and creatively.
Roots Community Limited, which later became 198 Gallery in 1988, was sparked by a serendipitous conversation between Zoë Linsley-Thomas and John 'Noel' Morgan. Zoe, a lifelong activist for Black rights, and John, together, envisioned a space at 198 Railton Road that would address both the need for Caribbean Elders to play dominoes and provide a platform for local and national Black artists. As demand for art exhibitions soared, the venue evolved into a showcase for the local and Black community, symbolizing the commitment to community at the core of 198 Gallery's ethos.
The early curatorial focus culminated in commissioning the first public sculpture by a Black artist in the UK – The First Child by Jamaican artist Raymond Watson. This memorial in Max Roach Park commemorates the 116 children murdered by the Afrikaner police force in Soweto in 1976. Buoyed by this success, 198 Gallery broadened its scope, supporting artists from diverse backgrounds to extend the dialogue on race and emergent identities in the UK.
Integral to 198's mission is addressing community concerns, particularly those related to youth. Training, participation, and showcasing for young people have been fundamental since its inception. In 2007, reflecting this commitment, 198 changed its name to 198 Contemporary Arts and Learning. In 2010, it set up HustleBucks, a social enterprise led by local young people, aiming to create a hub for youth enterprise in Lambeth.
Recognition for 198's impactful work came in 2017 with Arts Council National Portfolio Organisation status. The launch of the first diaspora pavilion at the Venice Biennale further solidified its place on the international stage, featuring six artists who had exhibited at 198.
With an ever-expanding impact, 198 embarked on an ambitious project to enhance its premises. Asset Transfer from Lambeth Council and significant fundraising efforts secured £1,350,000 for a capital project. This expansion not only bolsters long-term financial sustainability but also embraces a 'lifestage' approach – starting with education and training for young people, providing spaces for creative enterprises, exhibition spaces, and venues for local, national, and international events.