Picture a museum where Fang masks stand alongside digital installations, where kente fabrics engage in dialogue with AI-generated works. This isn’t some far-fetched vision—it’s the reality shaped by Sonia Recasens, the curator shaking up the hierarchies of contemporary art. By taking the helm of AICA International in 2024, she didn’t just secure a position; she claimed a platform to rewrite dominant narratives. Her weapon? A Franco-Moroccan dual identity that lets her move between worlds without ever being confined by them.
Recasens represents a new wave of curators refusing to relegate African art to superficial exoticism. Her exhibition at the Palais de Tokyo, where 17 artists explored the connections between contemporary art and craftsmanship, wasn’t just a showcase—it was a statement. A statement that traditions aren’t relics but living materials, ready to be reimagined. By placing craftsmanship at the heart of her approach, she underscores an often-overlooked truth: Africa doesn’t need to catch up with the West. It has its own codes, its own rhythms. And it’s precisely this uniqueness that’s now captivating global markets.
For Cameroon and Francophone Africa, her work is a breath of fresh air. While local artists still struggle to break into the international scene, Recasens is carving out pathways. Her decolonial approach to art criticism gives new legitimacy to practices long dismissed as mere 'folklore.' But caution is needed—this newfound visibility must not become a trap. The danger? That Western galleries and collectors see African art as just another passing trend, a 'niche market' to exploit before moving on. The real victory would be for institutions like AICA International to help build autonomous artistic ecosystems on the continent.
So, should we celebrate this new era of African art? Absolutely—but with our eyes wide open. Recasens is showing the way: an art that embraces its roots without being trapped by them, that engages with the world without bowing to its demands. Now, it’s up to us to turn this visibility into power. An artist exhibited in Paris or New York is good. An artist supported by African collectors, local galleries, and ambitious cultural policies is even better. Decentralizing artistic narratives will only be revolutionary if it comes with a decentralization of resources.
