Gallery 101

Gallery 101 is an exhibition space at The Salvation Army's International Headquarters (IHQ) in central London. The gallery forms part of the public café on the building's lower ground floor, but can be seen – and is lit by natural light – from the iconic pedestrian walkway that links St Paul's Cathedral and the Tate Modern Gallery, via the Millennium Footbridge.

The 101 Queen Victoria Street site has been occupied by The Salvation Army since 1881 but a rebuild that opened in 2004 brought an opportunity for IHQ to be more than just the administrative centre it had been previously. Glass walls with Bible quotations and a new public café allowed IHQ to live up to the challenge of General John Gowans (international leader from 1999-2002) that it should be a 'building that speaks for itself'.

This ethos is reflected in Gallery 101, which hosts up to six exhibitions per year. Many of these publicise and promote the work and mission of The Salvation Army, but the gallery is also available to be used by photographers, painters and other artists whose work is in sympathy with the aims of The Salvation Army. Through hosting these exhibitions and providing support to exhibitors, the gallery team members (from the IHQ Communications Section) believe that people will be drawn into IHQ, where they can learn more about The Salvation Army and its worldwide mission.

Gallery 101 is open Monday to Friday from 8.30am to 4.30pm. Nearest Underground: Blackfriars, Mansion House and St Paul's. Click here for map.

For more information email

Current exhibition: 24 May – 6 July

In TransitDaily Life in the Calais Jungle and Grande-Synthe Refugee camp
Photographs by Jacky Chapman and Janine Wiedel

The Jungle, the refugee camp in Calais was razed to the ground in October 2016 evicting 10,000 migrants/refugees including 800 children. In April 2017 Grande-Synthe in Dunkirk (France’s only official migrant camp) went up in flames leaving a further 1,500 people including 120 unaccompanied children homeless overnight.

In 2016 prior to the destruction of the camps, Jacky Chapman and Janine Wiedel spent six months visiting and photographing daily life in both.

The resulting exhibition/installation with close to 200 photographs portrays the refugees as individuals and not merely as a collective problem. It shows the daily experiences of those living in the camp as well as images of the social environments that they improvised to help them survive with some dignity (including places of worship, shops, and schools).

We are given a view into the transience of lives caught between the horrors of the past and the (increasingly limited) hopes for a secure future. It captures something of the precariousness, ingenuity and above all the humanity of people who fled from their homes and families, and risked their lives crossing continents, to find themselves in temporary communities. Today, even these have been destroyed leaving them scattered around France with decreasing hope for their future.

The powerful images evoke and provoke a reaction and provide the viewer with a platform to engage with the social and humanitarian issues that are often skewed by social media and the press.