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

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dc.contributor.authorMendes, Ana Cristina
dc.contributor.authorWacker, Julian
dc.date.accessioned2021-11-24T08:20:24Z
dc.date.available2021-11-24T08:20:24Z
dc.date.issued2021
dc.description.abstractThis 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.pt_PT
dc.description.versioninfo:eu-repo/semantics/publishedVersionpt_PT
dc.identifier.citationMendes, AC, Wacker, J. 2021. “The Louvre Going APESHIT: Audiovisual Re-curation and Intellectual Labour in The Carters’ Afrosurrealist Music Video”. Postcolonial Studies. 23: 4. 24:4, 484-497.pt_PT
dc.identifier.doihttps://doi.org/10.1080/13688790.2021.1985245pt_PT
dc.identifier.issn1368-8790
dc.identifier.urihttp://hdl.handle.net/10451/50164
dc.language.isoengpt_PT
dc.peerreviewedyespt_PT
dc.publisherTaylor & Francispt_PT
dc.relation.publisherversionhttps://www.tandfonline.com/doi/full/10.1080/13688790.2021.1985245?needAccess=truept_PT
dc.subjectPostcolonial studiespt_PT
dc.subjectMuseum studiespt_PT
dc.subjectAfrosurrealismpt_PT
dc.subjectBlack historypt_PT
dc.subjectBlack popular culturept_PT
dc.subjectCelebrity studiespt_PT
dc.subjectCultural studiespt_PT
dc.subjectMusic videopt_PT
dc.subjectBeyoncépt_PT
dc.subjectAudiovisual studiespt_PT
dc.titleThe Louvre going APESHIT: audiovisual re-curation and intellectual labour in The Carters’ Afrosurrealist music videopt_PT
dc.typejournal article
dspace.entity.typePublication
oaire.citation.endPage497pt_PT
oaire.citation.startPage484pt_PT
oaire.citation.titlePostcolonial Studiespt_PT
oaire.citation.volume24(4)pt_PT
person.familyNameMendes
person.givenNameAna
person.identifier.ciencia-idD214-A7C9-8A02
person.identifier.orcid0000-0002-3596-0701
person.identifier.ridK-9981-2015
person.identifier.scopus-author-id36161897400
rcaap.rightsclosedAccesspt_PT
rcaap.typearticlept_PT
relation.isAuthorOfPublication9e8b97a6-733e-4183-aaf7-ac3bfa0674e9
relation.isAuthorOfPublication.latestForDiscovery9e8b97a6-733e-4183-aaf7-ac3bfa0674e9

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