capture. There is no longer anything that can be subjected to interpretation. All that is left is selection. The artwork no longer has power as a form-giving or life-giving force. Among us the issue of identity has been resolved, if only at the theoretical level. Certainly, the disputes continue, but today no serious voices would deny that we are the products of different overlapping genealogies; or that there are no origins except in the encounter with other living beings and entities. Africa is first and foremost a body formed of a vast diaspora, and thus a body in motion. Africa only exists by virtue of a split. 263 The time has thus come to take on the African worlds of images, their formal properties and of course their effects. African artworks have above all always been objects in motion. More fundamentally, it is an urgent task to consider contemporary African art as a form of thinking. This thinking has its styles, and we need to identify and study them formally. If we assume that modern art takes its point of departure in a crisis of the understanding of the image, it is possible that current Afro-diasporic creativity will resolve this crisis. There is a good chance that the art of the 21st century will be ‘African’. CONCLUSION The only way it makes sense to talk about Africa is as an assemblage of spaces that arise out of motion. Africa is first and foremost multiplicity – and therefore relations. Social and cultural polytheism has always been our signature. Social and economic life has always been governed by the two fundamental principles of composition and conversion. Life itself consists of knowing how to put together composite, disparate and ultimately incompatible elements; and then establishing equivalences among them – transforming some into others. On the other hand, there has never been any ‘Africa’ except on its travels. Thus being African in the current and coming world means being in constant motion and knowing, in the given conditions, how to reactivate the resources of multiplicity, motion and circulation. That is, to participate, with full entitlement, in the great movement of breaking down the fences around the world. As for the rest, Africa’s time will come. Perhaps not in our lifetime. But it will come. The role of writing, art and cultural creativity is to prepare for its coming.
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