Glissant’s cyclonic aesthetics approaches the work of art as a “trembling” bridge to the “Whole-World” (“Tout-Monde”). In his own words : “Like the legendary beast, painting diverts us from reality only to raise its swellshigher, in its patient and meticulous surveys of Diversity.” What can then be construed as the unexpected, the invisible and the emergence, in an aesthetics based on the impossibility to found and marked by wandering, cursedness and the dizzy whirl of time and memory ? “The eye that sees everything is disabled”, Glissant writes in the dialogue he imagines between the engraver Albrecht Dürer and the alchemist Areko, from the Batoutos people. Against the power of predictability, Glissant conjures up the work of art with this stubborn, oblique and elusive perspective. The privilege of dispossession.