In his work “Le Cri de Picasso”, Jean-Luc Aka Evy, Congolese ambassador, philosopher and writer, explores the notion of aesthetics by focusing on the concepts of beauty and goodness. He works to deconstruct the distorted ideas that the West has long maintained about African Art, first described as “primitive”, before being recognized as “primary art”.
The reconsideration of Negro art by the West, by moving it from “primitive art” to “primary art”, perceived as an attempt to correct a historical wrong, could have satisfied the philosopher. But, far from being satisfied with this, the Congolese author calls into question the very legitimacy of Western institutions, such as the Louvre Museum, which now claim the right to present African art as a primary art, after decades of contempt and devaluation.
“Le Cri de Picasso” was unveiled on December 7 during the closing ceremony of the 15th edition of Dak'Art, in the former Palais de Justice in Dakar. This event brought together major intellectual figures, such as Felwine Sarr, economist and author, as well as Ramatoulaye Diagne Mbengue, professor of philosophy and expert in mathematical logic, who accompanied the author in a discussion around his work.
On the sidelines of this event, Felwine Sarr spoke with us about the major questions raised in “Le Cri de Picasso”, in particular those linked to the perception of beauty and the construction of otherness. Furthermore, as an actor engaged in the process of restitution of cultural property looted in Africa by former colonial powers, he shared updates on the progress of this project. According to him, this process is underway, but it is dictated by a balance of power, because beyond the restitution itself, these demands touch on geopolitical and geostrategic issues. Countries only receive works they have officially requested.
Felwine Sarr welcomed the considerable impact of his report addressed to France, which caused a shock wave among other former colonial powers, pushing them to consider the restitution of the looted works. This document also encouraged several African countries to submit official requests for restitution, thus disrupting the tranquility of Western museums and highlighting the extent of historical spoliations.
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