Hassan Hajjaj has never been interested in fitting inside the traditional art world, which is exactly why seeing him take over one of its oldest institutions feels so satisfying. This summer, the Moroccan artist is bringing his unmistakable visual universe to Sotheby’s London, transforming its Story Café into a vibrant Marrakech-inspired tea salon while unveiling a new exhibition, My London Rockstars, Ends to Estates, in partnership with Vigo Gallery.
Running from July 13 until Aug. 7, the exhibition marks the latest chapter in Hajjaj’s long-running My Rockstars series, a body of work he has been developing for more than two decades. Rather than celebrating celebrity for celebrity’s sake, the project shines a light on the creatives who have shaped his own world. This latest edition turns its focus toward London, featuring portraits of London’s new creative guard including Nigerian painter Slawn, British rapper Central Cee, Corteiz founder Clint 419, film director Walid Labrim, and British singer Jorja Smith, all photographed in Hajjaj’s signature style of bold patterned backdrops, custom clothing, and instantly recognizable frames.
The title is fitting because Hajjaj’s idea of a rockstar has very little to do with fame. Although he has photographed everyone from Madonna to Billie Eilish, the distinction is reserved for people with whom he shares a genuine creative connection. That sense of community has always been central to his practice, giving his portraits the feeling of an ongoing family album rather than a conventional series of celebrity photographs.
That philosophy reflects Hajjaj’s own story. Born in Larache before moving to London as a child, he arrived without speaking English and eventually left school at 15. During the 1980s he immersed himself in the city’s underground creative scene, selling clothes, organizing club nights, working on film sets, and launching his own streetwear label, R.A.P., short for Real Artistic People. Those experiences continue to shape his work today, where fashion, photography, music, and street culture seamlessly intersect.
Hajjaj’s work already belongs to the collections of institutions including the Brooklyn Museum, the Victoria and Albert Museum, LACMA, the Guggenheim Abu Dhabi, and MACAAL in Marrakech. Even so, this particular exhibition feels especially meaningful. At a time when London’s cultural identity is being shaped by multicultural voices more than ever, few artists have documented that energy with the warmth, humor, and authenticity that Hajjaj has brought to his work for the past three decades.
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