The Louvre going APESHIT: audiovisual re-curation and intellectual labour in The Carters’ Afrosurrealist music video

• Autor(a) principal: Mendes, Ana Cristina
• Data de Publicação: 2021
• Outros Autores: Wacker, Julian
• Tipo de documento: Artigo
• Idioma: eng
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/50164
• topic: Postcolonial studies; Museum studies; Afrosurrealism; Black history; Black popular culture; Celebrity studies; Cultural studies; Music video; Beyoncé; Audiovisual studies

This article offers a reading of the APESHIT music video by the duo The Carters (Beyoncé and Jay-Z) as an Afrosurrealist intervention in the White space of the Louvre. Against the backdrop of calls for decolonizing archives and public institutions such as the university and the museum, and arguing for the political potential of APESHIT, this article makes a case for the music video as an act of resistance against the enduring ‘coloniality of power' in the European museum and elsewhere in the public sphere. We argue that The Carters embrace the role of the public intellectual-activist - assumed to be within the remit of the Western, White, liberal intellectual for centuries. Our argument is threefold: (1) the aesthetics of the APESHIT music video builds on and contributes to the Afrosurrealist artistic tradition, engaging with contemporary Blackness via the strange and absurd; (2) the music video itself creates performance art that intervenes in and extends beyond the Louvre and audiovisually re-curates its exhibitions; (3) The Carters can be seen as celebrity ‘critical organic catalysts’ whose Afrosurrealist intervention targeted at the colonial legacies of museums activates a critical relationship with these museal spaces traditionally constructed as White spaces.