Proposed research profile:In the slippery terrain created by globalization and cultural intermediation, contemporary art made in Africa (and its diasporas) has enjoyed a steady growth in interest and appreciation by Western audiences over the last few decades (Kasfir, 2007). Numerous biennials, triennials and academic works attest to this, much of its impact is due to the figure of Okwui Enwezor. However, seamlessly uniting diverse African artists under the inexperienced Western gaze for the commercialization of the international art circuit – despite their different cultural contexts and the medium in which they work – is bound to create problems. The sophisticated publications and curatorial works of Enwezor and other authors show both the vitality and the questions still to be addressed in this field of study (Ogbechie, 2010). ) seems to refer to a homogeneous whole (Enwezor and Okeke-Agulu, 2009). All countries, styles, practices and languages ​​are, in theory, on the same level. However, schools, movements, socio-economic development and political (in)stabilities in its many countries trigger various artistic responses towards both local and global forces. African cinemas are an example of this. They have evolved rather erratically since their inception. Different languages, multiple former colonial powers, and troubled socio-political histories have forced film scholars to address them in the plural. This two-lives development between African art and African cinema raises a series of questions. Therefore, by 'zooming in' to show this décalage, I intend to bring African photography and cinema into a broad theoretical framework...... at the center of the paper......ica and its diasporas. Bibliographical references:Enwezor, O. and C. Okeke-Agulu (2009) Contemporary African Artists, since 1980, Bologna: Damiani.Eshun, K. and R. Gray (2011) 'The Militant Image: A Ciné‐Geography', Third Text, 25 (1) , P. 1-12.Gilroy, P. (1993) The Black Atlantic: Modernity and Double Consciousness, London: Verso.Kasfir, SL (2007) African Art and the Colonial Encounter: Inventing a Global Commodity, Bloomington: Indiana University Press.Ogbechie , SO (2010) The curator as cultural intermediary: a critique of Okwui Enwezor's curatorial regime in the discourse of contemporary African art. [Internet]. Available at: http://www.africancolors.com/african-art-news/550/international/the_curator_as_culture_broker_a_critique_of_the_curatorial_regime_of_okwui_enwezor_in_the_discourse_of_contemporary_african_art.htm [Accessed 24 October 2011].